The Art of Phrasing in 
English Composition 


PAUL T. CAREW 






























The Art of Phrasing 

in 

English Composition 


BY 

PAUL T. CAREW, Ph.D., LL.D. 

^Associate Trofessor of English literature , Fordham University 



1923 

THE STRATFORD COMPANY., Publishers 

Boston, Massachusetts 







Copyright, 1923 



The STRATFORD CO., Publishers V 


Boston, Mass. 


The Alpine Press, Boston, Mass., U. S. A. 

MAR 19’23 

© Cl A696840C. 





Preface 



r I ^HE ART of expressive phrasing has been until 


1 recently a neglected field in the domain of 
English Composition. 

Phrases and idioms aptly introduced into the body 
of spoken or written discourse furnish a powerful 
means of enriching one’s vocabulary. They produce 
half tones and subtle interblendings of thought that 
make for the perfect reproduction of the mental 
image. The “snapshot” method in literary composi¬ 
tion like its counterpart in photography, has its 
virtues no doubt, but exact fidelity is not one of 
these. 

Dr. William Mathews in his Essay on Literary 
Style protests against a too great insistence on a 
rigid terseness as an element of good English. “We 
cannot agree,” he says, “with those who make it a 
canon of good style that in writing, one’s only aim 
should be to express his ideas as simply as possible. 
He should also express them as vividly and as ele¬ 
gantly as possible. Simplicity is no more inconsis¬ 
tent with elegance than is ornament with strength. 
The Damascus blade cuts none the less keenly be¬ 
cause it is polished, nor is a column less strong when 
its sides are fluted and its capital carved.” 

The following pages are an attempt, first, to bring 


Preface 


k 


into a systematic grouping various phrases and turns 
of expression met with in current literature, and, 
secondly, to aid the student by a few simple rules 
obtained by analyzing the structure of the phrases 
with relation to the thought to be conveyed, not only 
to enlarge his stock of words but to develop his own 
creative powers, and thus produce at will new forms 
and expressions. 

The examples used throughout the present book 
are largely from modern novels, essays, books of 
phrases, and from magazines and newspapers. 
Examples have been taken particularly from Roget’s 
Thesaurus of English Words and Phrases 1 , a work 
indispensable to writers of English; from Gienville 
Kleiser’s recent book, Fifteen Thousand Useful 
Phrases 2 , without question the richest collection of 
modern phrases in our language, and from Putnam’s 
Phrase Book 3 , another excellent work of recent 
publication. But the present work is emphatically 
not a collection of phrases, as are the three books 
mentioned, and for this reason the author recom¬ 
mends his readers to make use of the idioms, phrases 
and sentences of these collections as necessary 
material in connection with this work. The phrases 
and sentences given here are by way of illustration 
and as examples for practice; their purpose is to 
bear upon analysis; they are pivots of departure for 
the students ’ work. 


r 


1 T. Y. Crowell Co., N. Y. 1917. 

2 Funk & Wagnalls Co., N. Y„ 1917. 

3 G. P. Putnam’s Sons Co., N. Y., 1919. 


11 



Preface 


Although originally intended to be a brief supple¬ 
mental course for advanced students and teachers, 
adaptation of the book to the needs of high school 
courses has been kept in mind. Hence rules and 
explanations have been added so as to meet class¬ 
room requirements. 

The author does not wish to offer advice to the 
experienced classroom teacher, but out of a long love 
of English Composition and knowing the delight of 
it, he would ask that the student be encouraged to 
write sentences and paragraphs in which the phrases 
given or suggested in the textbook are incorporated 
and thus made a portion of his actual composition. 
Phrases are only fragments of expression. To be of 
value they must be worked into the sentence, as the 
sentence exists for the paragraph, the paragraph for 
the essay, the essay for the thought. The exercise of 
the literary sense is required to determine whether 
the expression of the thought is improved or not by 
the insertion of this phrase or that, whether the 
phrase under consideration throws a side-light upon 
the thought, or appears as a mere ornament of style 
that ceases from inappropriateness to be an orna¬ 
ment. The phrase must meet the requirement of 
suggestive thought, of delicacy, strength, or novelty 
or of emphasis. Some literary phrases are so deli¬ 
cately beautiful that they at once lose their sparkle 
and lustre when taken out of their context. No 
instruction can obviate this difficulty. The teacher 
must bring to the guidance of his pupils in the 
proper use of literary phrases a sense of discrimina- 


111 


Preface 

t.ion born of familiarity with the masters of English 
prose and poetry. 

Indispensable clearness must precede and accom¬ 
pany phrase-making. The student's concern should 
be to express himself so as to make each thought 
perfectly clear. Only then may he add a touch of 
beauty to the expression or add a word to enhance 
its strength. But the ornament may never hide or 
obscure the thought. If it does, it must be rejected, 
no matter how enamored the writer may have become 
of the turn of expression. The dangers of phrase- 
making are real because the fusing of the concrete 
with the abstract expression in the new phrase is 
successful only as it enriches thought. 

The practice of employing phrases that have be¬ 
come threadbare is an obvious danger. Such expres¬ 
sions cheapen ^ instead of enriching. Many terms of 
expression were once incisively thoughtful, but con¬ 
stant repetition by borrowers has impaired their 
keenness and edge and reduced their practical utility 
in composition. Experienced writers sometimes suc¬ 
ceed in freshening them up and making them do 
duty again by clever changes in their verbal con¬ 
struction, but this is scarcely to be recommended. 

It is suggested that the student have in constant 
use a commonplace book in which phrases and notes 
concerning them may be inserted, so that the exact 
phrase sought may be easily found when wanted 
later. In the actual work of composition, happy 
turns of thought will come without search, the 
trained impulse surpassing d^nendence on a book 


iv 


Preface 


and the mechanical, lifeless prop of hasty reference. 
It is hoped that the system followed in this book of 
binding blank pages with the text may lead to con¬ 
venience in making personal notes and in developing 
the phrasal paragraph. 

The author is indebted to C. R. Stapleton Ph. D. 
Professor of English Literature, Fordham Univer¬ 
sity, for a revision of the preface and for a few 
happy phrases in it which may indicate rather aptly 
the main purpose of the book. The work of revising 
the explanations and classroom directions is also 
his, and to him the author owes a slightly stronger 
tincture of pedagogy than the book would otherwise 
have possessed. 

The appreciation of one who has given many years 
to the teaching of English Composition and Litera¬ 
ture encourages the hope that Dr. Stapleton is not 
alone in believing that the author’s labor will be 
useful in the movement to educate by the instrument 
of pure and powerful language. 


v 




Table of Contents 


Chapter Page 

I. The Phrase in General.1 

II. The English Phrase.4 

III. Noun Phrases.7 

1. Noun with Prepositional Phrase ... 7 

2. Infinitive Phrase.13 

(1) As Subject of Verb.14 

(2) As Object of Verb.17 

(3) As Phrase Absolute.18 

3. Use of the Participle in Noun Phrases . 20 

(1) Noun with Present Participle . . 21 

(2) Noun with Past Participle ... 23 

4. Synonym Modifiers.25 

5. Intensifying Modifiers.27 

6. Diminishing Modifiers.29 

7. Nouns in Series.31 

IV. Adjective Phrases.36 

1. Use of the Abstract Noun.36 

2. Abstract Noun Combinations .... 38 















TABLE OF CONTENTS 


Chapter Page 

(1) With Preposition BY.53 

(2) “ “ IN.56 

(3) “ “ INTO .... 60 

(4) “ “ OF.62 

(5) “ “ TO.64 

(6) “ “ WITH .... 67 

3. Abstract Noun and Reflexive Pronoun . 73 

4. Adjectives in Series.74 

5. Noun Modifying a Noun.77 

6. Infinitive Phrases.78 

7. Intensifying Modifiers.79 

8. Diminishing Modifiers.80 

9. Synonym Modifiers.81 

V. Adjective Forms.83 

YI. Verb Phrases.88 

1. Verb and Noun.89 

2. Disallowing Term.90 

3. Verb, Prepostion and Abstract Noun . . 91 

(1) Preposition IN.92 

(2) “ INTO.93 

(3) “ TO.96 

(4) “ WITH.97 

4. Verbs in Series.98 
















TABLE OF CONTENTS 


Chapter Page 

VII. Verb Forms.102 

1. Noun and Verb.102 

2. Noun Verb and Preposition.104 

3. Expletive IT with Infinitive Phrase . . 106 

VIII. Adverb Phrases.109 

1. The Negative Adverb.109 

A. Phrases Implying a Negation . . . 109 

B. The Double Negative.110 

C. The Negative with BUT.Ill 

2. Adverbs in Series.112 

3. Preposition WITH and Abstract Noun . 115 

4. Adverbial Idioms and Expressions . . 116 

(1) Adverbs of Time.117 

(2) “ “ Place.118 

(3) “ “ Degree.118 

(4) u “ Manner.119 

IX. Words and Phrases Used as Conjunctions . . 121 

X. Sources of Phrases.122 

XI. Index of Key Words.128 















I. THE PHRASE IN GENERAL 


THE USE AND ABUSE OF PHRASES 

The importance of the Phrase in composition lies 
in the fact that bv acting as a substitute for a single 
adjective, noun, verb, or adverb, it does more than 
maintain correctness of form and use. A well-turned 
phrase makes for greater precision, appropriateness, 
and expressiveness in embodying in words the idea 
intended to be conveyed. It is not enough that we 
express our ideas correctly according to the rules of 
grammar. We may speak or write correctly enough 
in that regard and still fail to express clearly the 
meaning we wish to convey; in other words we may 
lack precision. The hearer or reader may receive 
a very indistinct impression of the thoughts we aim 
at expressing because of the vagueness or ambiguity 
of our words. Again, our words must not only 
show clearness or precision, but they must also be 
appropriate, that is, they must fit into the subject 
and the occasion. Otherwise, the effect we wish to 
produce will be lost. Nor must we forget expressive¬ 
ness in our words. They may be correct in form, 
precise in meaning, and appropriate in language, and 
yet they may lack the power to express in a vivid way 
our feelings and emotions. “Coldly correct and 
critically dull,” — our words would have the same 
power to arouse the emotions and stir the feelings 


1 


2 The Art of Phrasing in English Composition 

as would the pages of a railroad guide or a city direc¬ 
tory. If Patrick Henry had ended his speech by 
declaring, “I would prefer liberty even at the cost 
of life,” instead of closing with the impassioned 
outburst, “As for me, give me liberty, or give me 
death! ’ ’ his words would not have electrified his 
hearers and gone down the ages as the inspiration of 
every patriotic soul. 

In grammar and composition the principles of 
correctness establish the right and wrong in the con¬ 
struction of the sentences. The study of correct and 
judicious phrasing deals rather with matters of 
discrimination between what is good and what is 
better; with the question of greater or less adaptation 
of words to the thought (precision), to the circum¬ 
stances of subject and occasion (appropriateness), and 
to the feelings and emotions (expressiveness). Yet 
when all has been said and done in words, the great, 
the vital principle is correctness. 

“Few indeed can appreciate,” says Roget, “the 
real extent and importance of that influence which 
language has alwaj^s exercised on human affairs, or 
can be aware how often these are determined by 
causes much slighter than are apparent to a superficial 
observer. False logic, disguised under specious 
phraseology, too often gains the assent of the unthink¬ 
ing multitude, disseminating far and wide the seeds 
of prejudice and error. Truisms pass current and 
wear the semblance of profound wisdom, when dressed 
up in the tinsel garb of antithetical phrases, or set 
off by an imposing array of paradox. By an imposing 
jargon of involved and mystical sentences, the im- 


The Phrase In General 


3 


agination is easily inveigled into a transcendental 
region of clouds, and the understanding beguiled into 
the belief that it is acquiring knowledge and ap¬ 
proaching truth. A misapplied or misapprehended 
term is sufficient to give rise to fierce and intermin¬ 
able disputes; a misnomer has turned the tide of 
popular opinion; a verbal sophism has decided a 
party question; an artful watchword, thrown among 
combustible materials, has kindled the flame of deadly 
warfare and changed the destiny of an empire.’’ 

To our own nation and language the words just 
quoted may be said to apply with special force. 
Never has the English language exercised so powerful 
an influence on human affairs throughout the world 
as at the present time. That the English-speaking 
peoples dominate the world of politics has been made 
manifest by the events succeeding the, World war. A 
development of ideas has demanded a corresponding 
increase in the number of words and phrases. The 
English language has been borrowing and assimilat¬ 
ing words until at the present time it has a verbal 
richness unsurpassed by any other language. It is 
now indeed the “heir of all the ages,” and the richly 
endowed offspring of the union between the Germanic 
and the Romanic, the two great languages of modern 
Europe. May it become more and more a language 
nobly used for the dissemination of truth, that the 
richness of its wording may be employed only to pro¬ 
cure for honest reasonings a more ready access to the 
understanding and the heart of humanity. 


II. THE ENGLISH PHRASE 


A phrase is an expression consisting usually of but 
a few words denoting a single idea or forming a 
separate part of a sentence, as, To be plain with you, 
of a truth, etc. In a strict grammatical sense it 
expresses some relation of ideas but no entire proposi¬ 
tion, being merely a group of connected words not 
containing subject and predicate but performing the 
office of a single part of speech with or without modi¬ 
fiers. For example, the word consistent as applied to 
a person is grammatically an adjective. As to its 
meaning, its place may be taken by the phrase, run¬ 
ning true to form. 

There are two modes of classifying phrases. They 
may be divided according to their construction. A 
phrase consisting of a preposition and its object may 
be called a prepositional phrase, as, (the train was) 
behind time. A phrase consisting of participle and 
its object or modifiers may be called a participial 
phrase, as, seeing the danger (he avoided it.) A phrase 
consisting of an infinitive and its object or modifiers 
may be called an infinitive phrase, as, to learn to do 
by doing. 

Another classification of phrases divides them ac¬ 
cording to the parts of speech for which they stand, 
thus, 

Noun Phrase: A train of disasters (followed )— 


4 


The English Phrase 5 

the phrase “a train of disasters” being the subject of 
the verb. 

Adjective Phrase: (He was a man) of conse¬ 
quence, the phrase “of consequence” modifying the 
noun. 

Adverb Phrase: (He was easy-going) to the point 
of lethargy, the phrase “to the point of lethargy” 
modifying easy-going, the compound adjective. 

Verb Phrase: (The sounds) blended into harmony, 
the phrase “blended into harmony” being the predi¬ 
cate of the sentence. 

Any of the phrases classified according to the first 
mode, namely, according to their construction, may 
enter into the composition of the noun, adjective, 
adverb or verb phrase. The noun phrase, a train of 
disasters, for example, contains a prepositional phrase 
within it — of disasters. 

In the present treatise we are concerned only with 
phrases in so far as they perform the functions of 
the main parts of speech. 

Phrases are not considered here as a part of the 
correct grammatical construction of sentences, for 
this treatise is not in any sense an English Grammar. 
Not all phrase constructions will be treated as would 
be necessarily the case in a work devoted to the 
elements of the English language. Nor are the 
phrases here under consideration chosen from a num¬ 
ber of more or less striking expressions for the sake 
of mere possession and future use. The purpose of 
the book will have been gained if the student is aided 
in his task of enlarging his vocabulary; is encouraged 
to acquire methods of analysis and synthesis; and is 


6 The Art of Phrasing in English Composition 

enabled to change by his own powers the plain and 
perhaps inadequate expressions that first come to his 
mind into felicitous phrases and turns of thought, 
thus imparting life and spirit to his compositions. 


III. NOUN PHRASES 


1. NOUN WITH PREPOSITIONAL PHRASE 

Preposition OF 

Model. The hells of time (are ringing changes 
fast.) 

Analysis. The first four words of this sentence 
form a noun phrase. The combination of noun and 
prepositional phrase treated under this heading con¬ 
sists in general, of two nouns joined by a preposition. 
One of the nouns will he found to be the basic or 
primary noun containing the essential idea conveyed 
by the phrase; the other which is termed the secon¬ 
dary noun, carries the metaphor and is not essential to 
the meaning. Thus, in the example given above, time 
is the basic or primary noun; hells is the secondary 
noun. Most phrases are figures of speech. In speak¬ 
ing or writing we obey a natural tendency to compare 

% 

one thing with another that resembles it, whether in 
fact or in imagination. Our language is accordingly 
rich in simile and metaphor. 

In the model given above, time in its tendency to 
effect rapid changes in life is aptly compared to a 
chime of bells quickly ringing various changes of 
sounds. By taking out the noun phrase we do away 
with the metaphor; the wording of the predicate must 
then be changed, and the sentence may be reduced 
to a model of brevity: Time is fleeting. 


8 


The Art of Phrasing in English Composition 


This short form without any noun phrase may 
under certain circumstances he preferred to the 
longer form. The degree of conciseness must vary 
according to the nature of the subject and with the 
effect we wish to produce. Certain kinds of writing 
call for a leisurely style in accordance with the prin¬ 
ciples of appropriateness and expressiveness, while 
other forms of composition without violence to the 
same principles demand a more concise and pithy 
style. 

Exercise 1 

Reduce each of the noun phrases in these sentences to 
a single basic noun: 

Example: 1. Night’s candles (are burnt out.) 

This sentence should be read carefully and the 
expression reduced to the shortest form that will 
exactly convey the idea. The meaning of the words 
is still preserved if we do away with the figure of 
speech and use instead, the simple form: night is past. 

Therefore the noun phrase night’s candles is redu¬ 
cible to the noun night. 

2. The bells of time (are ringing changes fast.) 

3. The pangs of hunger. 

4. The slough of Despond. 

5. I will give thee (a crown of life.) 

6. On the ocean of life (we pass and speak one 
another.) 

7. The soul of harmony. 

Phrases of this kind sometimes have a modifier 
added to one or other of the two nouns contained in 
the phrase. The modifying words may for the time 


Noun Phrases 


9 


be disregarded in determining the basic noun of the 
phrase. Thus, in the sentence: The parching blight 
of sin (lay upon his soul,) the modifier parching , 
added for the sake of emphasis, is disregarded and 
the entire sentence is reduced to the shorter form: 
Sin (lay upon his soul.) 

The following examples show the modifier attached 
to the basic noun: 

9. (and grasps) the skirts of happy chance. 

10. The sting of cruel poverty. 

The modifier is more often joined to the secondary 
noun, as for example: 

11. The breathing fragrance of spring. 

12. The long arm of coincidence. 

13. The hidden soul of harmony. 

There are instances also of both nouns modified, as 
for example: 

14. The golden sunlight of an autumn noon. 

15. The tender grace of a day that is dead. 

Exercise 2 

Imitate six of the examples given in Exercise 1. 

Example: The bells of time (are ringing changes 
fast.) 

This sentence analyzed as to its meaning will be 
found to contain two main concepts: “time” and 
“progression.” Find a metaphor conveying the idea 
of progressive motion that may be adapted to the 
concept “time.” Stream, river and other kindred 
words suggest themselves; thus, the stream of time. 


10 The Art of Phrasing in English Composition 


A fitting verb with a modifier if necessary is now 
supplied that will accord with the notion of progres¬ 
sive movement. The sentence may then read, “The 
stream of time” (rushes on with rapid current.) 

In the exercise of imitation strict adherence to the 
exact sense of the original is not required in every 
case. As a variant, for instance, time may be con¬ 
ceived as a slow progression of events, and a para¬ 
phrase of one of Shakespeare’s lines may be formed: 
“The creeping hours of time (draw on apace.”) 

Note. In these and other exercises of imitation it is by 
no means expected that a fine literary phrase appear in 
every case as a result of the process indicated. Form 
phrases as near as may be to the models given even 
though the new creations be inferior to the model in 
strength or beauty. 


Exercise 3 

Form a noun phrase containing the preposition OF 
from each of the following phrases: 

Example: 1 . A vain dreamer, (he accomplished 
nothing of value.). 

Here the adjective vain as applied to dreamer 
rather obscures the thought, for the reader is in doubt 
as to whether vain is meant to be an attribute of the 
person dreaming or of the dreams themselves. The 
meaning is cleared up if a prepositional phrase is 
employed, thus, 

(Simple form) : A dreamer of dreams (he accom¬ 
plished nothing of value.) 

(Expanded form) A dreamer of vain and impossible 
dreams, (he accoynplished nothing of value.) 


Noun Phrases 


11 


Notice also the repetition of the word dream, giving 
at once force and beauty to the expression. 

2. (I saw) the lightning (flash upon the sky.) 

3. Life (is as unfathomable as death.) 

4. Death (is the invisible Angel of Life.) 

5. Spring (lies open, written in blossoms.) 

6. (On the . ) we must all appear and 

act our part. 

Preposition AMONG 

Noun phrases containing this preposition are very 
few in number, and are employed mostly for the sake 
of emphasis. Instance such expressions as, 

A man among men. 

A king among men. 

As a variant, the preposition IN sometimes occurs, 
as, 

One man in a thousand. 

All of these expressions are noun phrases in 
which the basic noun man can be easily discerned. 
There is another group of expressions, however, in 
which the basic noun is used only in a figurative 
sense, and is not therefore strictly speaking, the kind 
of noun phrase we are at present considering: as, 

A sheep among wolves. 

Triton among the minnows. 

Little foxes among the tender vines. 

These last are literary expressions to be noticed as 
figurative turns of thought rather than treated ac¬ 
cording to their phrase construction. 



12 The Art of Phrasing in English Composition 


Preposition WITH 

Model 1 . The man with the hoe. 

This preposition like AMONG is rarely used to 
form noun phrases. In combination with a noun it 
functions however, for the adjective, verb and adverb 
as will be seen under their respective headings. As 
an example of the use of WITH in the formation of 
a noun phrase the noun laborer or farmer is sometimes 
paraphrased: the man with the hoe. The saying “The 
earth praises God” gains force if the noun is ex¬ 
panded into, a phrase: “The earth with her thousand 
voices (praises Gocl.)” 

Model 2. A mere nothing with a minus sign. 

Sometimes the imagination seeking for a point of 
resemblance soars away from the severely plain truth 
and the result is exaggeration of statement. In poetry 
and highly imaginative fiction this is permissible and 
is classed as a figure of rhetoric called hyperbole. 

But in any other department of writing any exag¬ 
geration even if conveyed in striking and elegant 
phraseology is not only out of place but is even vicious 
since it is a perversion of truth. At the present time 
it is something of a fad among a certain class of nove¬ 
lists to indulge in extravagant similes and metaphors 
with but little thought as to the use of the words in 
their exact meaning. The result is seen in an exces¬ 
sively figurative or florid style that soon becomes 
tiresome and annoying to the reader. 

We can tolerate the phrase, a mere nothing with a 
minus sign, for example, in certain kinds of writing 
— of a semi-humorous or whimsical nature — as 


Noun Phrases 


13 


merely an intensive mode of characterizing an ob¬ 
ject ordinarily considered a nonentity, as even less 
than nothing, — a logical absurdity. 

Other Prepositions 

Here and there noun phrases are found with 
various other prepositions in their makeup. They are 
in great measure idioms, in themselves defiant alike of 
logical analysis and successful imitation. 

It may perhaps be a useful and interesting exercise 
to collect a number of phrases of this kind from 
one’s reading. A few examples are given to assist 
the reader in his search: 

A man after his own heart. 

Cheek by jowl. 

The man behind the gun. 

Hand over hand. 

Wheels within wheels. 

2. INFINITIVE PHRASE AS NOUN FORM 

A phrase consisting of an infinitive and its object 
or modifiers is called an infinitive phrase and may 
take the place of a noun, an adjective or an adverb. 
As a noun form the infinitive may be either (1) the 
subject of a verb, as, to avoid misunderstanding 
(should be our aim.) 

It may be (2) the object of a verb, as, (1 shall not 
undertake) to prophesy the future; or, it may be (3) 
used independently, as, to sum up in one word (I 
would say . ... ) Each form will be considered 
under separate headings. 


14 


The Art of Phrasing in English Composition 


(1) Infinitive Phrase as Subject of a Verb 

Exercise 4. 

Change the infinitive phrase to a simple noun form 
with or without a modifier: 

Example 1. “How not to do it (was the great study 

and object of all public departments.)” 

This example is taken from a description of the 
“Circumlocution Office” by Charles Dickens. The 
use of this form enabled the writer to place the 
emphatic words where they would attract instant 
attention. The effect of the whole sentence would be 
notably lessened if not entirely lost if the infinitive 
phrase were placed at the end, or if instead of the 
infinitive he used the simple noun inactivity as the 
subject of the sentence. On the other hand, add the 
modifier masterly and notice an improvement at -once. 
It is now a good substitution, borrowed by the way, 
from Mackintosh d 

A masterly inactivity (was the great study , etc.) 

Paraphrase this sentence leaving out the infinitive 
phrase: 

2. To fill a volume with nothing (is a credit to no¬ 
body.) 

A very useful exercise to test the ingenuity of the 
student in paraphrasing is here presented. A new 
sentence may be thus worded: A volume containing 
nothing (is not a credit to its author.) The change 
has been duly effected according to the rules made 


1 The Commons, faithful to their system remained in a wise and 
masterly inactivity.—Vindiciae Gallicae. 



Noun Phrases 


15 


and provided, but it is at best a sorry substitution 
for the witty saying of Neale. 

3. Not to go hack (is somewhat to advance.) 

4 (’Tis better) to have loved ' and lost, 

Than never to have loved at all. 

5. Not to know me (argues yourselves unknown.) 

6. To learn to do by doing. 

7. (Our duty down here is) to do, not to know. 

8. To write plainly (on a fine subject is to set a jewel 
in ivood.) 


Exercise 5 

Change into a sentence containing an infinitive phrase 
as subject, the following: 

1. Mistakes are human, forgiveness is Divine. 

This exercise involves nothing more difficult than 
the simple change of the noun into a corresponding 
verb in the infinitive mood, to give the well known line 
of Pope: To err is human, to forgive Divine. 

2. Preaching to the converted is no easy task. 

This like the foregoing may be paraphrased in two 

ways: by forming the subject infinitive thus: to 
preach to the converted (is. no easy task), or the so 
called expletive form using the pronoun IT may be 
used as the formal subject: as (it is no easy task) to 
preach to the converted. Here the infinitive phrase 
though it may be regarded grammatically as in apposi¬ 
tion with IT, still remains the logical subject of the 
sentence. 

3. Forgetf ulness of self (is the one thing we should 
ever seek.) 


16 The Art of Phrasing in English Composition 

4. The knowledge of our faults (is always profit¬ 
able.) 

5. Resting (while all others toil is not just.) 

6 Seeing (is) believing. 

7. (It requires no great prudence) to make a gov¬ 
ernment. 

Exercise 6. 

Change each of the following phrases into one con¬ 
taining an infinitive phrase as subject of a verb: 

1. Envy is a bitter thing. 

The examples in the preceding exercises have been 
“prepared,” that is they are presented in such form 
that it is a comparatively simple matter to form the 
infinitive phrase and make at the same time a good- 
looking sentence. The present exercise is a step more 
difficult because the happy transformation is not 
clearly seen in the sentence as it stands. Take the 
sentence envy is a bitter thing. Step by step we shall 
endeavor to improve the infinitive form into which it 
is to be changed. Thus, to envy (is a bitter thing) 
or (it is a bitter thing) to envy, is the first result. 
According to grammar no more needs be done; all 
the rules have been observed. Composition and rhet¬ 
oric now step in and effect an improvement by 
making the sentence exclamatory; thus, How bitter a 
thing it is to envy! One more step is necessary, for 
the sentence is now poorly balanced. Can the concept 
envy be dressed in a few colorful words to improve 
the balance ? Analyze envy —‘ ‘ to look unwillingly on 
another’s happiness,” and behold a gem borrowed 


Noun Phrases 


17 


from Shakespeare: (“How bitter a thing it is) to look 
into happiness through another man’s eyes!” 

Exercises such as these are exceedingly useful for 
all kinds of phrases, and should be taken from general 
reading, gradually venturing ‘to make your own 
phrases from plain sentences using analysis and imi¬ 
tation. Imitation is one of the recognized methods 
of literary exercise and may well be practised in the 
work of making phrases. Take for instance the line 
of Shakespeare given above and imitate the form of 
the sentence as nearly as may he, something after this 
fashion: “Praise is sweet” paraphrased would read: 
(How sweet it is) to mark the approving glance in 
others’ eyes! 

2. To be prepared for war (is one of the most effec¬ 
tual ways of preserving peace.) 

3. (For one short hour) to see the souls we love. 

4. (It would have clone any man’s heart good) to 
see their merriment. 


Exercise 7. 

Write out imitations of the passages given above. 

(2) Infinitive Phrase as Object of a Verb 

Model. (I desire) to see you. • 

An infinitive or infinitive phrase may modify a 
verb by completing its meaning, thus approaching the 
construction of a pure noun and may be regarded as 
the object of the verb. The model given above is 
equivalent to (J desire) a sight of you. 


18 The Art of Phrasing in English Composition 

(I do not recollect) ever to have paid it. 

This form >of the infinitive phrase is simply gram¬ 
matical: it does not apparently lend itself to literary 
treatment except perhaps by way of a plain trans¬ 
position, as, to iveary you with further details (I 
should not venture, were it not etc.) 

As a rule however, such transposition is rather in 
the domain -of poetic verse; as for example, in the line 
from one of Milton’s sonnets: 

“To measure life (learn thou betimes and know 

Towards solid good what leads the nearest way.)” * 

The normal construction is 'often used even in verse, 
as may be seen in the following line from George 
Herbert: (“By all means use sometimes) to be alone.” 

There are many phrases of various kinds here and 
in succeeding chapters to which we shall be obliged 
to give but a passing notice because they are of ordi¬ 
nary use and receive adequate treatment in the pages 
of English Grammar. 

(3) Infinitive Phrase Absolute 

Model. To prevent misunderstanding . 

While we are on the subject of infinitive phrase, 
the absolute or independent use of this kind of phrase 
may be included here though not properly a noun 
form. The infinitive phrase absolute serves a useful 
purpose in breaking up the monotony of an unavoid¬ 
ably long sentence. It gives a very welcome pause to 
the public speaker and has its advantages in almost 
every kind of writing. 

Assuming that this phrase, to prevent misunder- 


Noun Phrases 


19 


standing is used at the beginning of a statement, a 
change in form would necessitate the awkward com¬ 
bination of six small words: in order that there he 
no misunderstand ing. 

Exercise 8. 

Change the following infinitive absolute phrases into 
forms having no infinitive, but retaining the original 
meaning of the discarded infinitive: 

1. To say nothing hut the truth . 

The form but not the signification is changed if 
an independent clause he used instead; thus if I may 

state the plain truth .or, the independent 

clause may be used; as, Truth compels me to state 

that .Still other forms may be found that will 

leave the sentence unchanged as to meaning. 

2. To begin with 

3. To he candid with you, I confess I was in fault 

4. To resume 

5. To he frank J do not like it 

6. So to speak 

7. To conclude , I wish to say 

8. To exemplify this statement 

Exercise 9. 

Form infinitive absolute phrases equivalent in meaning 
to the following: 

1. By way of illustration of my meaning 

The principal noun illustration is changed into its 
infinitive form: to illustrate. The preposition is dis¬ 
carded resulting in the form: to illustrate my meaning 





20 The Art of Phrasing in English Composition 


By changing to the infinitive the double use of the 
same preposition in a phrase of seven words is 
avoided. 

2. If ice take a very different instance 

3. Bringing the matter nearer home 

4. So that there will he no possibility of being mis¬ 
understood 

5. Let me illustrate again 

6. If I may put it in another way 

% 

Exercise 10 

Write four imitations based on Exercises 8 and 9 using 
the infinitive phrase absolute. 

3. USE OF THE PARTICIPLE IN NOUN 

PHRASES 

In the construction of noun phrases, greater 
clearness and force are often secured placing a 
participle before the noun. In some cases the par¬ 
ticiple modifies the meaning of the noun, as for ex¬ 
ample, a glancing blow, embittered recollection. In 
the former example glancing expresses the kind of a 
blow, i. e., slight, as opposed to crushing blow, i. e., 
heavy. Likewise, in the latter example there is a 
distinction implied between various sorts of recol¬ 
lections. 

There are other instances however, in which the 
participle is not considered in its function of a chang¬ 
ing or modifying agent, but rather as a more forceful 
or more elegant mode of expressing the entire idea 
originally conveyed by the noun itself standing alone. 


Noun Phrases 


21 


Thus for example, we may use the expression deceiv¬ 
ing mists. If we analyze this phrase we shall find 
that mists naturally tend to impede the sense of sight; 
in foggy weather the wayfarer is apt to take the wrong 
direction. Hence, instead of the plain noun mists, the 
phrase deceiving mists would be, generally speaking, 
a more expressive term. The participle here merely 
adds force to the noun. All mists are in a greater or 
less degree deceiving mists, but in the other example, 
every blow ‘is not necessarily a more or less glancing 
blow. Therefore in the succeeding exercises the par¬ 
ticiple should be examined carefully with a view to 
distinguishing those used as mere modifiers from 
those placed for the purpose of reinforcing the noun; 
these latter form true noun phrases as treated in these 
pages, and impart a more delicate shade of meaning 
to the plain expression. 

(1) Noun with Present Participle 

Model : Deceiving mists 


Exercise 11 

Analyze the following and separate the phrases con 
taining mere modifiers from those re-enforcing the noun- 


meaning : 

1. accusing spirit 

2. engaging disposition 

3. biting invective 

4. bewitching candor 

5. dazzling success 

6. glancing blow 


7. imaging vitality 

8. darkening sky 

9. jarring note 

10. budding hopes 

11. crying abuse 

12. entangling alliances 


22 The Art of Phrasing in English Composition 


Exercise 12 


In the following examples find more than one appro¬ 
priate present participle for each noun: 

. pines 

Doubtless the -opening words of Longfellow’s 
Evangeline will at once come to the mind in this 
connection. The giants of the forest are depicted as 
sending forth a subdued undertone, beautifully ex¬ 
pressed by the term murmuring pines. 

As this exercise is on present participles variations 
may be employed such as, clustering pines, sighing 
pines, invigorating pines, etc. 


1 . horizon 

2 . torture 

3 . proof 

4 . luxury 

5 . genius 

6 . fascination 


7 . insolence 

8 . zeal 

9 . directorate 

10 . age 

11 . supremacy 

12 . reassurance 


Exercise 13 


Supply appropriate nouns to form an expressive phrase 
in accordance with the model given at the head of this 
chapter: 

1. enticing . 7. advancing . 

2. demoralizing . 8. hounding . 

3. dominating . 9. stinging . 

4. bubbling . 10. contaminating . 

5. cutting . 11. undying . 

6. tormenting . 12. tinkling . 



























Noun Phrases 


23 


Exerctse 14 


Express the sense of the following nouns with greater 
strength by adding appropriate present participles: 


1 . desire 

2 . clouds 

3 . obligation 

4 . notice 

5 . assertion 


6 . influence 

7 . idea 

8 . circumstance 

9 . beauty 

10. purpose 


Exercise 15 

Write from memory or supply from your reading five 
phrases containing present participles in accordance with 
the models given. 

(2) Noun with Past Participle 

Model: Cold-blooded calculation 

The past participle is not seen so frequently in the 
noun phrase as is the present participle. In ana¬ 
lyzing the present participle form we considered as 
an active agent, the mist deceiving the wayfarer. 
The past participle implies that the noun is acted 
upon. Thus instead of calculation we prefer to say, 
cold-blooded calculation. 


Exercise 16. 

Some of the examples are true noun phrases reducible 
to a single noun. Others are nouns modified by past 
participles. Separate them into their respective classes. 












24 The Art of Phrasing in English Composition 

1. agitated eagerness 7. satisfied complacency 

2. confirmed pessimism 8. crested greatness 

3. a celebrated instance 9. ingrained hatred 

4. accumulated happiness 10. open-eyed astonishment 

5. coveted honors 11. delegated power 

6. borrowed magnificence 12. distorted ideals 


Exercise 17 

Supply appropriate past participles to the following: 


1. 


7. 


-J. • • • . 

. devotion 

8. 


3. 

. bitterness 

9. 


4. 

. grace 

10. 


5. 

. conditions 

11. 


6. 

. austerity 

12. 



Exercise 18 


Supply a fitting noun: 

1. ungarnished . 

2. labored . 

3. Middled . 

4. constrained . 

5. devoted . 


6. impoverished 

7. undoubted .. 

8. cultured 

9. devitalized . . 
10. wounded 


Exercise 19 

Write 'from memory five phrases containing past par¬ 
ticiples using nouns and participles other than those given 
in the preceding exercises. 
























Noun Phrases 


25 


4. SYNONYM MODIFIERS 

Model : Bearish rudeness 

Synonyms are words very nearly alike in meaning. 
Our English language has been from the beginning 
a composite language. Words from Latin, French, 
Greek and other sources have come in that were origin¬ 
ally -of the same meaning as the corresponding words 
in the primitive tongue. Gradually, a slight difference 
or shade of difference in meaning came into these words 
as the language developed, until now when “for rich¬ 
ness, intellectuality, and condensed adaptability no one 
of all the other living languages may be placed at its 
side” to use the words of the most eminent of all 
philologists, Dr. Jacob Grimm. In order to bring out 
the nicer and finer distinctions of words, however, 
caution must be observed and the words of Dr. Blair 
heeded: “The great source of a loose style in opposi¬ 
tion to precision is the injudicious use of those words 
termed synonyms.” 

In certain kinds of poetry and in animated discourse 
the use of phrases containing synonyms may be con¬ 
sidered as adding to the impressiveness of the idea 
and the elegance of the composition. When Shakes¬ 
peare in Henry IV. makes Falstaff say, “I am a Jew, 
an ’Ebrew Jew,” we readily pardon the tautology 
in admiration of the line itself. The truth remains 
withal that, as Goold Brown says, “an unemphatic 
repetition of the same idea is one of the worst faults 
of bad writing.” For example, bearish rudeness is 


26 The Art of Phrasing in English Composition 


emphatic; full plenitude on the other hand, is an 
affectation although used by some good authors. 

It is difficult to make a hard and fast rule in this 
matter and draw the line between repetition for the 
sake of emphasis and mere redundancy. 


Exercise 20 

Some of the examples given below are good expressions; 
others are redundant and weaken the phrase. Substitute 


more fitting synonyms for 

1. free pardon 

2. voting electorate 

3. lying calumnies 

4. concrete realities 

5. descriptive formula 


the defective examples: 

6. and some to the stu¬ 
dious universities 

7. chaotic anarchy 

8. cynical sarcasm 

9. mediating intercession 

10. polite courtesy 


Exercise 21 

Add expressive synonyms to the following nouns taking 
care to avoid mere tautology. 

1 . courage 7. malignity 

2 . pedestrian 8. obligation 

3 . youth 9. strength 

4 . vibration 10 . silence 

5 . ingredients 11. . ... truths 

6 . fancy 12. wisdom 














Noun Phrases 


27 


Exercise 22 

Write a list of five synonym phrases of your own 
making. 


5. INTENSIFYING MODIFIERS 

(a) Nouns Intensified by Related Adjective 

Model: Abysmal ignorance 
It is generally advisable to avoid wherever possible 
the use of well worn adjectives especially those of the 
intensive kind relating to degree of quality or 
quantity, such as great, strong, much, etc. Choose 
in preference an intensifying adjective related in 
sense to the noun. 

In the model we instinctively associate the idea of 
ignorance with dark depth. Having by analogy this 
idea of its modifying element the word abyss at once 
suggests itself; in the adjective form, abysmal. Hence, 
instead of very great ignorance, the expression 
abysmal ignorance is to be preferred. 


Exercise 23 

Analyze the following in accordance wtih the model: 


1. arrant falsehood 

2. insufferable vanity 

3. extravagant eulogy 

4. immoderate laughter 

5. lavish hospitality 

6. incredible folly 


7. matchless beauty 

8. vehement denial 

9. clinching argument 

10. appalling danger 

11. unspeakable depravity 

12. withering scorn 


28 The Art of Phrasing in English Composition 


Exercise 24 

Supply a fitting adjective: 


1. 


7. 

. force 

2. 


8. 


3. 


9. 

. abuse 

4. 


10. 

. ignorance 

5. 


11. 


6. 


12. 

. care 


Exercise 25 


Supply a fitting noun: 

indescribable . 

aching . 

absolute . 

icy . 

unexampled . 

overpowering . 


overwhelming 
burning 
meticulous .. 
fathomless .., 
devouring . . 
outrageous . 


Exercise 26 

Compose ten phrases consisting of noun and intensify¬ 
ing modifier after the models given below: 

(b) Nouns Intensified by Repetition 

Model: The hollowest of hollow shams 
Such expressions as are listed under this heading 
may be aptly termed two-fisted phrases. No set rule 
can be laid down for their construction. The mere 
task of searching through the pages of the best writers 
of prose and poetry for gems of expression like these 


























Noun Phrases 


29 


can not fail to be profitable; where found they can be 
at least admired even if perhaps they can not in every 
case be imitated. 1 Shakespeare has many such ex¬ 
pressions. Pick them out from the following: 


Exercise 27 

1. to make assurance doubly sure 

2. the observed of all observers 

3. an accident of an accident 

4. confusion ivorse confounded 

5. air, thin air 

6. in my heart of hearts 

7. words, words, words 

8. the impiety of the impious 


6. DIMINISHING MODIFIERS 
Model: Paltry thanks 

The need of variety in the choice of modifiers tend¬ 
ing to lessen the force of the noun, is even more press¬ 
ing than in the use of intensifying adjectives. In 
the model here given little would be an appropriate 
modifier under ordinary circumstances, but the word, 
like its antonyms much and great is generally over¬ 
worked. Hence, for the sake of variety: paltry thanks. 


1 A phrase of this nature springs into the consciousness of a 
writer as a flash of inspiration rather than as a result of any definite 
mental process. Robert Louis Stevenson quoted by Brander Matthews 
in “Essays on English” says of the finer kind of phrasing: “We begin 
to see now, what an intricate affair is any perfect passage; how 
many faculties, whether of taste or pure reason must be held upon the 
stretch to make it; and why, when it is made it should afford us so 
complete a pleasure. From the arrangement of according letters, 
which is altogether Arabesque and sensual, up to the architecture of 
the elegant and pregnant sentence which is a vigorous act of pure 
intellect, there is scarcely a faculty in man but has been exercised. 
He need not wonder then if perfect sentences are rare, and perfect 
pages rarer,” 



30 The Art of Phrasing in English Composition 


Exercise 28 

In this exercise the adjectives have become separated 
from their nouns. Rearrange them. 


Nouns 


praise 

returns 

fortunes 

courtesy 

doses 

greetings 


results 

resources 

compliments 

dignity 

force 

assets 


Adjectives 


retarding 

slender 

dubious 

infinitesimal 

ebbing 

faint 


apathetic 

shrinking 

meagre 

scant 

pinchbeck 

homeopathic 


Exercise 29 

Fill in the blanks with suitable modifiers. 


1 . admiration 

2 . vision 

3 . fitness 

4 . glance 

5 . hope 

6 . power 


7 . influence 

8 . taste 

9 . tolerance 

10 . dissent 

11 . enthusiasm 

12 . approval 














Noun Phrases 


31 


Exercise 30 


Supply the m'ssing noun: 


1. briefless . 

2. borroiced 

3. chilled . . 

4. qualifying 

5. cold . 

6. bald 


7. hamper eel . 

8. halting 

9. questionable 

10. reluctant . . 

11. atrophied .. 

12. unreal 


7. NOUNS IN SERIES 

Models: Bone and sinew 

Guide, philosopher and friend 
Tact, courtesy, adroitness and skill 

Nouns, adjectives, verbs awd adverbs are occasion¬ 
ally found in series of two, three and even of four 
more or less synonymous members. They are em¬ 
ployed perhaps more frequently in rhetorical com¬ 
position than in any other, since they are used in 
general to produce the effect of impressiveness. 

The same caution in their use should be observed 
as in the case of synonym modifiers. The best ex¬ 
amples sh-ow a real difference in the strict meaning 
of each member together with a close relationship 
of both in usage, as will be noticed in the models given 
above. 














32 The Art of Phrasing in English Composition 

Series of Two 

Exercise 31 

Study each pair and note the difference in meaning 
between the two members. Wherever possible reduce to 
one suggestive term: 

1. signs and wonders 

2. pomp and circumstance 

3. usage and custom 

4. disgust and aversion 

5. doubts and misgivings 

6. fact and fancy 

7. metes and bounds 

8. image and superscription 

9. discord and disunion 

10. party strife and blind ambition 

11. delusion and snare 

12. with all appliances ayid means to boot 


Exercise 32 

Add a second member of the series to the following: 

trials and . confusion and . 

peaks and . clangers and . 

(fit for)stratagems and justice and . 

quips and . jabber and . 

worth and . comparison and . 

grace and . zest and . 













Noun Phrases 


33 


Exercise 33 


Look through the pages of any good author available 
and write six pairs of nouns in accordance with the models 
given. 


Series of Three 


Exercise 34 


Notice the distinction of mean'ng in the examples fol¬ 
lowing and contract each series to one noun expressing 
the general meaning of the series: 

1. tone, temper and spirit 

2. chastity, purity and continence 

3. guide, philosopher and friend 

4. discourses, lectures and harangues 

5. sweet hells jangled, out of tune and harsh 

6. pride, pomp and circumstance (of glorious war.) 

7. hirth, rank and fortune 

8. a delusion, a mockery and a snare 

9. dissension, sedition and rebellion 

10. doubt, incredulity and unbelief 

Exercise 35 

Expand each of these nouns into a series of three: 


corruption 

obscurity 

cruelty 

love 

fame 

comfort 


skill 

wit 

virtue 

energy 

revenue 

accuracy 


34 The Art of Phrasing in English Composition 


Exercise 36 


Gather from any good collection of the speeches of 
American or British orators, six specimens of nouns in 
series of three. 


Series of Four 


Exercise 37 


Contract the four nouns in each series to one dominant 
term: 

1. invective, diatribe, tirade and harangue 

2. lying, quibbling, 'prevarication and untruth 

3. purity, patriotism, learning and experience 

4. aversion, dislike, hatred and repugnance 

5. time, place, arrangement and circumstance 

6. character, disposition, temperament and repute 

7. reason, wisdom, gravity and beauty 

8. fantasies, vagaries, caprices and whims 


Exercise 38 


Construct a series of four to carry in a general way the 
meaning conveyed by the dominant word: 


fashion 

narrative 

sacrifice 

duty 


burden 

hatred 


vocation 


credit 


Noun Phrases 


35 


Exercise 39 

In Review 

Write a composition limited to two hundred words 
containing five different kinds of noun phrases. As a 
help to the student a model is here given. Indicate by 
name and reference number as in the model, each form 
used in the composition. 


MODEL 

Demosthenes’ Oration on the Crown 


In the golden age of Grecian civilization every 
branch of liberal education was made subservient to 
oratory. To he eloquent 1 was the ambition of every 
Athenian youth. The pages of history 1 2 3 clearly record 
Demosthenes as the greatest of all public speakers, 
and the greatest of all the orations that have come 
down to us from the past is the “Oration On The 
Crown.” Posterity has willingly bestowed the palm 
of excellence 2 upon this unrivalled masterpiece 2 and 
rightly so, for in its sublime passages there is the very 
heart of eloquence ; 2 it is persuasive; in its pages may 
be found clinching argument , 4 burning eloquence, G 
and hitter invective . 5 * 7 8 To sum up in a word,' it is a 
complete vindication of the orator s ovn patriotism, 
sincerity, and honesty* against the malicious diatribes 

of his enemies. 


1 Infinitive phrase as subject of a sentence. 

2 Noun with prepositional phrase as noun 

3 Past participle as noun modifier. 

4 Intensifying modifier. 

5 Svnonym modifier. 

c Present participle modifier. 

7 Infinitive phrase absolute. 

8 Nouns in series. 


phrases. 












IV. ADJECTIVE PHRASES 

1. USE OF THE ABSTRACT NOUN IN ADJEC¬ 
TIVE PHRASES 

We have now come to the consideration of those 
forms or phrases which take the place of the adjective 
and perform its functions in English Composition. 
Here the abstract noun plays a very important part 
as will be seen from its frequent mention in the pages 
to follow. 

Since our words are nothing if not the expression 
of our ideas, it is necessary first of all to note the 
distinction between the two kinds of ideas, abstract 
and concrete. A concrete idea expresses a subject 
or a quality as belonging to a subject, as, a man, gen¬ 
erous. An abstract idea expresses a quality as by 
itself, drawn forth as it were, (abstraho, 1 draw away) 
from the subject, to be separately considered, as man¬ 
hood, generosity. 

In the immature period of mind development the 
concrete and the individual hold sway; abstract and 
general notions are not yet fully grasped. Pestalozzi 
says that it is the chief business of education to pass 
from distinctly perceived individual notions to clear 
general notions. The child at first notices persons, 
then things, and last of all, ideas. These are the 
highest concepts of all, and their expression is re- 


36 


Adjective Phrases 


37 


served for the period of mental maturity. The little 
child says, “my father is good to me” meaning gen¬ 
erous; but the abstract idea of generosity, he can not 
express by any word. 

Immature writers of English in like manner betray 
a scanty vocabulary. They do not use the abstract 
noun except to a very limited extent and with little 
or no idea of its adaptability for expressing ideas 
concerning concrete objects; they have not learned 
that by a skillful use of abstract nouns with various 
prepositions, they obtain a far greater command of 
the resources and appliances of the language; yet it 
is largely owing to the employment of the same 
abstract nouns with their wide range of modifiers that 
the finer shades of meaning can be brought out. Take 
for example this sentence — a faint, transient, wistful 
eagerness lightened her brooding face. To express 
the thought by means of the concrete adjective the 
unmodified form may read like this: she had an eager 
look. If we now add the modifiers to the adjective, 
the sentence would read: she had a faintly transiently 
and wistfully eager look. Here we have a cumbrous 
collection of words lacking form and rhythm and ill 
fitted to express the beautiful half tones and shades 
of meaning so well brought out in the model sentence. 
Nor should we omit to notice that the addition of the 
indefinite article, and the use of the transitive verb 
still further enhance the smoothness and appropriate¬ 
ness of the expression. It is precisely because the 
noun is of an abstract and general form that it admits 
of the greatest variety of modifiers. 

In adducing examples for illustration or for exer- 


38 The Art of Phrasing in English Composition 


cise it will be necessary here and there to employ 
entire sentences, in which, however, the phrase under 
consideration may be readily perceived. The non- 
essential words in these instances will be enclosed in 
parentheses. 

2. ABSTRACT NOUN COMBINATIONS 

In Combination with a Preposition 

The abstract noun considered in its relation to ad¬ 
jective phrases and forms is found in combination (A) 
with prepositions and (B) with transitive verbs. 

The combination with a preposition produces an 
adjective phrase. The introduction of the transitive 
verb on the other hand produces a combination of 
subject and predicate which can not be called a 
phrase, and hence is treated at the end of the chapter 
on Adjective Phrases under the caption “ Adjective 
Forms. ’ ’ 

(1) Indefinite Article, Noun, Preposition OF and 
Abstract Noun as an Adjective Phrase. 

Model 

Original phrase a pleasant day 

New Form a day of pleasure 

1. The indefinite article is retained in both forms. 

2. The adjective -of the original phrase is placed 
at the end of the new phrase and changed into the 
abstract noun preceded by the preposition “of.” 

3. The noun of the original phrase is unchanged 
as to form but is placed at the beginning of the new 


Adjective Phrases 


39 


phrase. Note 1. The abstract noun in the transposed 
phrase generally takes a modifier: the noun of the 
original is as a rule unmodified. Modifiers may some¬ 
times he employed, however, for both nouns in the 
same phrase as in the example: A sinister look of 
veiled hostility. Note 2. The preposition “of” would 
seem to be a short form for “full of” or “consisting 

o 


Exercise 40 

Reduce to simplest form the following: 

a man of consequence 
a fact of tremendous significance 
a spirit of vaulting ambition 
an orator of matchless eloquence 
a feeling of uneasiness 
a smile of approval 
a night of fathomless blackness 
a state of mind 


Exercise 41 

Supply an abstract noun with or without a modifier 
in order to complete the phrase. 

For example, let it be required to complete an 

expression of .A wide range of terms may be 

found in this instance, such as (an expression of) 
glowering suspicion, fierce hatred, blank surprise etc. 
This exercise will tend to give the student a flexible 
vocabulary, by increasing his stock of words and 



40 The Art of Phrasing in English Composition 


expressions. Treat the following according to the 


model given: 

an aspect of . an attitude of 

a withering glance of . . a gesture of . 
aoi air of . a look of . . . 


Exercise 42 


Make the transposition of the following according to 
the model given in the previous exercise: 


an important man 
a fruit fid summer 
a beautiful style 
an admiring gaze 
a gentle intonation 


a radiant face 
a wistful smile 
a refined woman 
a wild scene 
a merciful mission 


Exercise 43 

Practice on phrases found in your reading and form 
six new transpos'tions varying the use of modifiers as 
in Note 1. 

(2) Indefinite Article, ABSTRACT Noun, Preposi¬ 
tion “OF” and Abstract Noun as an Adjective 
Phrase 

Model 

Original Phrase: Gentle demeanor 
New Form : A gentleness of demeanor 

In place of the adjective substitute an abstract 
noun preceded by the indefinite article: Then place 
the original noun unchanged in form but preceded 
by the preposition “of.” The phrase is improved 







Adjective Phrases 


41 


as a rule by adding a modifier to the abstract noun 
in which case the subject is preferably left unmodified. 

Notice that this form unlike the preceding one is 
not a transposition of the terms of the phrase. Here 
both nouns in the changed form are abstract. The 
phrase given above as a model if treated according to 
the preceding formula would read: a demeanor of 
gentleness instead of a gentleness of demeanor; re¬ 
sulting in a slight change of meaning, as in the for¬ 
mer demeanor is emphasized, in the latter gentleness. 

Exercise 44 

Contract these phrases to noun and adjective: 

1. a diversity of opinion 

2. a fever of speculation 

3. a very ecstasy of joy 

4. a minuteness of detail 

5. an inexhaustible fluency of speech 

6. a readiness of repartee 

7. a great solidarity of opinion 

8. an unwavering unity of purpose 


Exercise 45 


Expand these phrases in 

1. rapid movement 

2. anxious sorrow 

3. chaotic confusion 

4. accurate aim 

5. exuberant courage 


imitation of the model given: 

6. despairing gesture 

7. lofty spirit 

8. vigorous treatment 

9. precise phrasing 

10. noble purpose 


42 The Art of Phrasing in English Composition 

Exercise 46 

Build five simple sentences from memory and change 
the forms in accordance with the rules given. 

(3) Abstract Noun, Preposition “OF” and Abstract 
Noun as an Adjective Phrase 

Model: courtly manner — courtliness of manner 

1. Change the adjective into its abstract noun. 

2. Place the preposition “of” before the noun of 
the original sentence. 

Note. This form differs from the preceding in that no 
article is called for either in the original or in the new 
phrase, although in some instances it is not amiss to insert 
it. Note also that the nouns in both forms are abstract. 


Exercise 47 

Study these phrases and add four in imitation of the 
models: 

unanimous opinion (consensus of opinion) 

In some cases the abstract noun formed directly 
from the adjective is unsuitable, and a synonym is 
substituted as in the example just given. Thus also, 
clear thinking — clarity of thinking 
rich decoration — wealth of decoration 
fulsome praise — surfeit of praise etc. 

Note. According to usage some adjectives would pref¬ 
erably be left unchanged. For example, hearty apprecia¬ 
tion, unanimous consent, high living; should a change be 
needed the phrase u high living ” would appear in some such 
form as, luxury of living, etc. 


Adjective Phrases 


43 


Exercise 48 


Practice on synonyms given below noticing the slight 
modifications of meaning as each noun is compared with 
one or another in the grouped sentences. 

Read aloud each combination rejecting those pairs 
which by ear and eye test do not seem to combine 
very happily. In group 1, for example, velocity of 
movement, or of motion would seem to be a happy 
combination, but not velocity of mobilization; because 
velocity in modern usage is applied only to inanimate 
things, as parts of machinery or the like. 


rapidity 

celerity 

quickness 

velocity 


gorgeousness ] 
wealth 
riot 

•* I 

richness J 




r 

of * 


of- 


movement 

clarity 


r judgment 

motion 

soundness 

- of - 

reasoning 

progression 

sanity 

thought 

mobilization 

clearness > 


K deduction 

decoration 

extravagance' 

' 

'panegyric 

coloring 

exaggeration 

- of - 

adulation 

ornament 

surfeit 

eulogy 

illustration 

profusion , 


praise 


(4) Indefinite Article, Abstract Noun, Preposition 
“OF” and Abstract or Concrete Noun, as an 
Adjective Form to Express “SOME” or 
“NONE,” “MUCH” or “LITTLE,” “MANY” 
or “FEW.” 


Models : 

Some — a sense of repression 

None — a lack of courtesy 

Much — a high degree of intelligence 

Little — a mere smattering of learning 

Many — a flood of memories 

Few — a small minority of objectors 











44 The Art of Phrasing in English Composition 


A modification of the use of the intensifying and 
diminishing adjective is considered in this section. 
The abstract noun preceded by the indefinite article 
and followed by the preposition of has the same force 
as these modifiers together with the advantage of pos¬ 
sessing greater flexibility in expressing the gradations 
of quantity and quality. 

Occasionally expressions are met which seem to 
dispense with the indefinite article, as, 

Something of the loneliness of the scene crept into 
the prospector’s heart. 


Exercise 49 
To Express “SOME” 


Model: Some arguments—a stock of arguments 

In this exercise the nouns have been separated from 
their modifiers. The student must determine the fitness 
of the modifiers by a careful reading of the fragments 
given, and reunite them accordingly. 

Modifiers Noun's 


a brave showing of 
an amount of 
a display of 
a bit of 
a dose of 

with an unusual air of 
a quantity of 
a fund of 


apathy 

courage 

curious information 

arguments 

impertinence 

preparation 

medicine 


energy 


Adjective Phrases 


45 


Exercise 50 

Complete the phrase by supplying a suitable noun: 

a kernel of . 

a certain implication of . 

a suggestion of . 

a tinge of . 

a rustle of . 

a parcel of . 

a tincture of . 

a taint of . 

Exercise 51 

Introduce a phrase in imitation of the model to take 
the place of SOME in the following: 

.falsehood 

.reticence 

.merit 

.imagination 


Exercise 52 

Make six entire phrases from words not given in any 
of the preceding lists exemplifying a substitution for the 
adjective SOME. 

To Express NONE 

Model : no consideration — a want of consideration 

Abstract nouns conveying the same meaning as 
“want” or “lack” are used to express NONE or NO 
used as an adjective. This form may be used, gen¬ 
erally speaking, with an indefinite or a definite article: 














46 The Art of Phrasing in English Composition 


sometimes the article may be omitted altogether. It 
is not so closely restricted to the use of the indefinite 
article as are the other forms in this chapter. 


Exercise 53 

Study the construction of the phrases here given. The 
word NO can be substituted for each group of words in 
the phrase up to and including the preposition OF. 

an utter want of principle 
a lack of perspective 
a poverty of means 
a complete absence of honesty 
The concept NONE is also expresssed by a phrase 
equivalent to NOT ANY or NOT EVEN A LITTLE, 
introducing into the phrase the participle NOT. 
not a breath of air 
not an atom of intelligence 
not a shred of evidence 
not a shadow of reason 
not a vestige of decency 
not a particle of consideration 
As a variant NEVER A is at times a graceful 
substitute for NOT A especially in poetic composition 
as in the lines from Morris: 

“But never a song that you have sung 
Is half so sweet .’ ’ 


Exercise 54 

Collect from your general reading four additional modi¬ 
fying phrases implying a negation without having to make 


Adjective Phrases 


47 


use of NO or NOT. Write also four phrases introducing 
NOT A after the models given above. 

To Express “MUCH” 

Model : a high degree of intelligence 


Exercise 55 

In the phrases following there is a peculiar fitness of 
the adjective phrase to the noun it modifies. Ascertain 
by a close examination the reasons o ! f such fitness. 

a sea of upturned faces 
a round of applause 
a fever of speculation 
an orgy of dissipation 
a torrent of abuse 
an avalanche of vituperation 

Analysis: Intelligence is graded, high, low and 
medium. Speculation produces mental excitement 
akin to fever. A great quantity of abuse the result 
generally of unreasoning anger suggests the headlong 
rush of a torrent or avalanche, etc. 


Exercise 56 

Find the separated members of each phrase and reunite 
them: 

pride a carnival of 
fun a tumult of 

despair a Maze of 

fury a flood of 

joy an abyss of 


48 The Art of Phrasing in English Composition 

Exercise 57 

Fit a noun to the adjective phrase: 

an ecstasy of . 

a icorld of . 

a high pitch of . 

a mountain of . 

an ocean of . 

a rush of . 

Exercise 58 

Fit an adjective phrase to the noun: 

.indignation 

.anger 

.feeling 

.information 

.energy 

.melody 

Exercise 59 

Write out six original phrases patterned after the 
models given. 

To Express “LITTLE” 

Model : a low grade of intelligence 

Exercise 60 

Study in the examples given below the relationship 
between the noun and its modifier. Note if it is an 
idiomatic form or if it may be analyzed: 

a slip of a child 
a crumb of comfort 














Adjective Phrases 


49 


a ripple of applause 
a modicum of truth 
a grain of sense 

Exercise 61 

Write in the missing noun suggested by the sense of 
the modifying phrase: 

a drop of . 

a trace of . 

a shalloivness of . 

a faint accent of . 

Exercise 62 

Write in the modifying phrase: 

.irritation 

.compunction 

. ( .reproach 

.consideration 


Exercise 63 


Reunite the separated members to form a pleasing 
combination of noun and adjective phrase: 


Nouns 

honor 

envy 

truth 

intelligence 

light 

humor 


Adjective phrases 

a flicker of 
a vestige of 
a spark of 
a faint sense of 
a tinge of 
a glimmering of 










50 The Art of Phrasing in English Composition 


Exercise 64 


Invent six entire adjective phrases with nouns attached. 


To Express “MANY” 


Model: (She gave me for my pains) a ivorld of 
sighs 

It would seem that good writers of English in quest 
of phrases to express “many” have used every ab¬ 
stract or quasi-abstract noun obtainable that might 
be made to convey the idea of multitude: army, host, 
universe, world, etc. Discrimination in the use of 
such words is of more value to the student than orig¬ 
inality in devising these expressions. For this reason, 
exercise No. 65 is put in the peculiar form already 
employed in No. 63. The adjectives have been sep¬ 
arated from the phrases modifying them. The student 
is required to reunite them. 


Exercise 65 


Nouns 


Adjective phrases 


troubles 

witnesses 

apologies 


telegrams 

letters 


contradictions 

followers 


evils 


a cloud of 
a host of 
a maze of 
a sheaf of 
a stack of 
a train of 
a world of 


a profusion of 


Adjective Phrases 


51 


Exercise 66 

Choose a noun for each phrase: 

a whole catalogue of . 

a bewilderment of . 

a universe of . 

a series of . 

an unending stream of . 

a flood of . 

a tissue of . 

a 'bewildering labyrinth of .. . 

Note. The expression “many a” with a singular noun 
is a variant, the opposite of the expression “never a”: as 
in the sentence “I have not seen him this many a year.” 


Exercise 67 

Compose six phrases containing nouns and modifiers 
not listed in the exercises given. 

To Express “FEW” 

Model : a limited number of invitations 

Exercise 68 

Analyze the following with a view to forming other 
phrases on the same plan: 

a handful of policemen 
a limited supply of arguments 
a small minority of voters 
a scarcity of compliments 
a woful dearth of reasons 
a paucity of ideas 
a scattering of auditors 
a thin red line of soldiers 









52 The Art of Phrasing in English Composition 

Exercise 69 

Form six new phrases using adjectives and nouns of 
your own selection from an analysis of the models given 
throughout the entire chapter on quantity modifiers. 

Study the noun for its suggestive notions. Suppose 
the phrase “much applause” is to he amplified. 
“Much” used in an intensive sense and applied to 
“applause” suggests by analogy the word picture of 
a noisy tumult, hence, a tumult of applause. On the 
other hand, “little” applied to the same noun conveys 
the idea of “faint” or “slight.” By the aid of anal¬ 
ogy again we recall the faint ripple of a brook or 
stream as a companion picture; thus we have “a faint 
ripple of applause.” Similarly a pitifully small num¬ 
ber of soldiers suggests “the thin red line” of Kipling. 

(5) Prepositional Phrase Combinations 

The study of the prepositional phrase is not only 
an important aid to correct expression but is a highly 
interesting pursuit as well. Good writers frequently 
make use of this form especially with a view to break¬ 
ing up the monotony attendant upon the constant use 
of the simple adjective. A study of these forms will 
gradually enable the student by a simple process of 
analysis to coin his own expressions at will. 1 


1 At the same time it must be borne in mind that the study of 
prepositional phrases, or of any other kind of phrases for that 
matter, can not be r ;duced to a set of formulae from which there can 
be no deviation. A great many, it is true, can be systematically 
grouped : nto divisions, as it is th3 purpose of tncse pages to set 
forth, but there will always remain a large number of exceptions 
which defy analysis or grouping of any kind, and can only be learned 
by direct association resulting from constant reading of the best 
English literature. As Dr. J. C. Fernald in his recent work. Expres¬ 
sive English, aptly remarks: “Rules, definitions, and explanations 



Adjective Phrases 


53 


Every preposition must express some relation of 
different things -or thoughts to each other. Every 
relation implies of course more than one subject. In 
all correct language the grammatical relation of the 
words corresponds exactly to the relation of the things 
or ideas expressed: for the relation of words is their 
dependence on one another according to the sense. 
To a preposition the antecedent term of relation may 
be a noun, an adjective, a pronoun, a verb, a participle 
or an adverb ; and the subsequent term may be a noun, 
a pronoun, an infinitive verb, or a participle. 

Of these we find that the adjective forms are read¬ 
ily constructed from prepositional phrases having a 
noun, adjective, verb, or present participle as ante¬ 
cedent and a noun as subseqent. 


Examples of these 

are here 

given: 


Antecedent 

Preposition 

Subsequent 

Equivalent 

incarnation (noun) 

of 

loveliness 

lovelg 

athrolb (adj.) 

with 

life 

alive 

shrivel (verb) 

with 

heat 

hot 

glowing (pres, part.) 

with 

delight 

delighted 

swaged (past part.) 

hg 

caprice 

capricious 


(a) The Preposition “BY” 

The relation expressed by this preposition is quite 
varied. It may express relation of (a) place or 


can but start us upon true lines of differentiation. Then beyonc. 
all these, we must depend unon the sympathetic and watchful study 
jf the best literature of our language, and upon listening to the best 
speakers, both in conversation and in public address, to give the eye 
and the ear the sure recognition of the appropriate connective and 
the swift instinctive feeling of its fitness in any one of the innumer¬ 
able exigencies of English speech.” 



54 The Art of Phrasing in English Composition 


direction; as, (the hotel stands) by the station; (they 
walked) by the river. 

(b) agency, means, instrument or standard; as, (he 
was helped) by his father; (his success was attained) 
by effort; (she died) by poison; (he ivas paid) by the 
month. 

(c) causality; (she was swayed) by caprice. With 
the exception of the last, all these relations indicate 
the adverbial phrase, and need not be treated here. 
Causality however belongs to our present topic the 
adjective phrase. 

Past Participle Preposition “BY” and Abstract 
Noun as an Adjective Phrase 

Model : swayed by caprice — capricious 

When the preposition “by”, in the relation of 
cause and effect is preceded by a past participle and 
followed by an abstract noun, it performs the office 
of an adjective phrase as, (She teas) swayed by 
caprice. 

Analysis. We wish to expand the adjective capri¬ 
cious into an appropriate prepositional phrase. 
The adjective is first changed into its abstract noun 
form, caprice. We know that caprice is a sudden 
change of mood. He who is capricious is moved now 
one way, now another, is in a word, strayed; so we 
have our phrase, swayed by caprice. The phrase in¬ 
fluenced by caprice is correct in itself but the thought 
conveved by the word influenced does not fit so com- 
pletely into the concept caprice, 


Adjective Phrases 


55 


Exercise 70 

Contract these phrases to a single adjective: 

fired by ambition animated by zeal 
dictated by prudence enjoined\ by custom 
held by fear tormented by remorse 

Modifiers may be added to nearly all of the phrases 
treated in this section, at the discretion of the student, 
thus, 

(She was) sore beset by the pressure of temptation 
(lie was) oppressed by a deadening melancholy 

Exercise 71 

The following phrases are incorrectly formed since the 
modifying words do not agree in sense with the nouns 
to which they are joined. Rearrange the parts so that 
good phrases will result. 

guided by emotion 
stirred by adversity 
torn by reason 
cast down by dissension 
actuated by melancholy 
depressed by generosity 

Exercise 72 

Change the following adjectives into appropriate prepo¬ 
sitional phrases: 

fortunate — favored by fortune 
Substitute for the adjective fortunate its abstract 
noun, fortune, which may be conceived as favoring 
its possessor who acordingly is, favored by fortune . 
insincere curious evident 

cautious famous discreet 

timid jealous aged 


56 The Art of Phrasing in English Composition 


(b) Preposition “IN” 

The relation expressed by the preposition “IN” 
is generally that of imitation in respect to surround¬ 
ing circumstances. As used in adjective phrases it 
denotes a sphere of activity and is equivalent to 
“amidst,” and “in regard to,” or “in the matter of,” 
as, unwearied in well doing (unwearied amidst works 
of benevolence,) fertile in imagination (resourceful in 
the matter of calling up mental images.) The ante¬ 
cedent may be a noun, an adjective, a present par¬ 
ticiple or a past participle. The noun is not of 
frequent use however as an antecedent for the purpose 
of adjective phrase building. Such phrases as a giant 
in intellect, a pigmy in stature, etc., are not clearly 
reducible to general modifiers. 

Adjective antecedent 
Model : rich in promise 

Some of the adjective antecedents followed by the 
preposition “IN” have the force of antonyms, as, 
feeble in intellect, mean in stature, etc. 

Exercise 73 

Define in terms of single adjective these phrases: 

proficient in study 
active in benevolence 
weak in purpose 
deficient in strength 
fertile in imagination 


Adjective Phrases 


57 


Exercise 74 

Complete these unfinished phrases: 

graceful in . 

superior in . 

diligent in . 

poor in . 

luxuriant in . 

Exercise 75 

Expand the following adjectives into phrases and add 
four more of your own: 

varied 
intellectual 
ample 
tall (high) 

Present Participle Antecedent 
Model : lingering in hope 

Some of the present participle antecedents have the 
effect of diminishing the force of the noun, as, falling 
in strength for example, implies only a slight degree 
of strength. Gaining in strength is the correlative 
term. 


Exercise 76 

Notice the modifying effect of the participle antecedent 
in the following examples and contract the phrase to a 
single adjective: 

cloying in sweetness 
wanting in dignity 







58 The Art of Phrasing in English Composition 


failing in health 
waning in interest 
wavering in courage 
lacking in poise 


Exercise 77 

Write four phrases other than those given above con¬ 
taining a present participle antecedent and reducible to 
an adjective. 

Past Participle Antecedent 
Model : bathed in rosy light 

The past participle is employed more frequently 
than the antecedents above mentioned due to the 
affinity between the past participle and the adjective. 


Exercise 78 

Analyze the thought conveyed in the following phrases: 

wrapped in Cimmerian darkness 

unwearied in well doing (beneficent) 

wrapped around in austere loneliness 

(The landscape lay) diffused in moonlight (moonlit) 

(Her senses were) steeped in forgetfulness (oblivious) 

(steeped) in the very brine of conceit (witty) 

Several nouns may be used to round out these 
phrases. Write three on each model: 

shrouded in . 

We think of the term shrouded in connection with 
something concealed or dark, or only partly visible. 



Adjective Phrases 


59 


We may add therefore, any of these words: obscurity, 
mystery, gloom, darkness, mist, etc. 

unsurpassed in . 

untarnished in . 

versed in . 

plunged in . 


Exercise 79 

Construct a phrase as above from each of the follow¬ 
ing adjectives: 

diplomatic 

Changing the adjective into the noun diplomacy 
we reflect that the preposition ‘‘IN” declares a rela¬ 
tion of “as to” or “in the matter of,” the most im¬ 
portant of which in the case of diplomacy would be 
skill in dealing with foreign nations; again, diplomacy 
requires intensive training. This thought calls up 
more antecedents, thus, 

skilled in diplomacy 
versed in diplomacy 
schooled in diplomacy, etc. 


controversial 

varied 

learned 

true 

detailed 


thoughtful 

solitary 

obscure 

asleep 

customary 


Note. In some instances the preposition “in” denoting 
the relation of scope or inclusion stands for an adjective 
as; (‘twas not) in nature to expect, etc., having the force 






60 The Art of Phrasing in English Composition 


of (it was not) natural to expect. Again, (it is not) in 
reason, anything in reason, and other like forms. In these 
cases the present or past participle has no place. 

(c) Preposition “INTO” 

The preposition “into” denotes a compound rela¬ 
tion for it means both “to” and “in,” or it may 
mean to the inside of, as (Come) into the house. Also 
it conveys the notion of (a) inserting or imparting 
something, as, Into her poems (she put her heart and 
life;) (b) penetration through an outside, as, (He 
cut) into the ivood; (c) inclusion, as, (Put the same 
ideas) into different language; (d) conversion, the 
passing of a thing from one form or state to another, 
as, (Water is convertible) into either ice or steam; 
(He was deluded) into believing himself a great 
soldier. 

All of these relations, except (d) require for their 
expression adverb or verb phrases and are not treated 
under this heading. The relation (d) however, in 
combination with a past participle or passive verb and 
abstract noun'gives us a true adjective form, and as 
such will now be considered. 

Past Participle, Preposition “INTO” and Abstract 
Noun, as Adjective Phrase 

Model: frightened into submission — submissive 

Exercise 80 

Analyze and reduce to simple form the following: 

1. aroused into passion 

2. galvanized into action 


Adjective Phrases 


Cl 


3. lulled into silence 

4. coerced into obedience 

5. ripened into maturity 

6. melted into tears 

7. born into poverty 

8. brought into disrepute 

9. forced into bankruptcy 


Exercise 81 

Form a phrase from each of the following adjectives: 

1. submissive 

Analysis. It is desired to change the adjective sub¬ 
missive into an appropriate prepositional phrase using 
the preposition “into.” Changing submissive into 
submission , we assume that a state of submission is a 
result of an action implying coercion or force from 
without so that the subject passes over from a state 
of resistance to that of non-resistance or submission, 
that is by a relation of conversion. Hence, “fright¬ 
ened,” “bullied,” “coerced,” or “forced”—into sub¬ 
mission, all of which are good phrases. 

2. credulous 7. alive 

3. captive 8. existent 

4. indifferent 9. quiescent 

5. important 10. torrential 

6. significant 

Verb, Preposition “INTO” and Abstract Noun as 

Adjective Phrase 

IV^odel : (Events) passed into history— became 
historic. 


G2 The Art of Phrasing in English Composition 


Exercise 82 

Analyze and reduce to simple form the following: 

1. (ITis thought) ripened into action 

2. (Her childhood) blossomed into beauty 

3. (She) relapsed into inaction 

4. burst into view (became visible) 

(d) Preposition “OF” 

Models: (He was) the sold of generosity — generous 
(He is) prodigal of excuses — apologetic 

The preposition “OF” generally denotes limitation. 
Its functions in the adjective phrase may be consid¬ 
ered as limiting or specifying a certain quality or 
condition; thus, She teas the incarnation of loveli¬ 
ness,” suggests and intensifies at the same time the 
idea conveyed by the adjective lovely. 

Notice an apparent similarity between this form 
and the treatment of the preposition “OF” in Exer¬ 
cise 40. In reality the latter is quite different from 
the present form as will be evident from a careful 
comparison of the two forms in typical examples. The 
phrase (He was) the sold of generosity if treated as 
in Exercise 40 would attribute generosity to the soul 
merely, whereas the true meaning of the phrase now 
under consideration requires that generosity be attri¬ 
buted to the person here represented by the personal 
pronoun. (She was) the incarnation of loveliness does 
not mean (She urns) a lovely incarnation but that 
(She was) lovely, in fact (She was) loveliness itself. 
The antecedent of phrases of this form may be a noun 
or adjective. 


Adjective Phrases 


63 


Exercise 83 

Analyze the following: 

1. the soul of honor 

2. a monster of ingratitude 

3. the abomination of desolation 

4. the very ecstasy of love 

5. (He ivas) the pink of propriety 

6. the Beau Brummel of elegance 

7. the glass of fashion and the mold of form 

8. (She was) the picture of innocence 

9. a tower of strength 

Exercise 84 

Form a phrase or sentence of the kind shown above 
to express: 

politeness 

pride 

excellence 

versatility 

genius 

Adjective, Preposition “OF” and Abstract Noun as 

Adjective Phrase 

Model : devoid of honor — dishonorable 

t 

Exercise 85 

Practice forming phrases similar to those given below: 

prodigal of excuses — (apologetic) 
spendthrift alike of money and of wit 


64 The Art of Phrasing in English Composition 

The second phrase is of the antonym class. Both 
forms are given in the exercises following: 

agile of brain 
extravagant of eulogy 
barren of results 
dull of intellect 
devoid of honor 
void of meaning 


Exercise 86 

Find six phrases from general reading having the 
form given above. 

(e) Preposition “TO” 

Models: open to doubt doubtful 

inured to hardship hardy 

The preposition TO denotes the general relation of 
motion toward with so many shades of relation that 
we must depend on usage instead of any set rule for 
shaping adjective phrases in which this preposition 
has place. 

It is to be remarked also in this connection that a 
wider range of antecedents occurs with this preposi¬ 
tion ; not only the past participle, but an adjective is 
likely to precede the preposition. Both forms will 
therefore be treated here. 

Past Participle, Preposition “TO” and Abstract 
Noun as Adjective Phrase 

Model : inured to hardship — hardy 


Adjective Phrases 


65 


Exercise 87 

Reduce to single adjective the following: 


1. horn to riches 

2. pushed to an excess 

3. consecrated to religion 

4. drawn to proportion 

5. accustomed to obedience 

6. moved to tears 

7. inclined to obesity 

8. devoted, to duty 

9. unused to obedience (disobedient) 

10. addicted to melancholy 

11. given to extravagance 

12. lost to honor 


Exercise 88 

Form phrases to express: 


antique 
active 
flattering 
actual (fact) 


virtuous 

reasonable 

angry 

extravagant 


Adjective, Preposition “TO” and Abstract Noun as 

Adjective Phrase 


Model: Open to doubt — doubtful 


66 The Art of Phrasing in English Composition 


Exercise 89 


Read carefully these examples with a view to form¬ 
ing others on a similar plan: 


conformable to reason — reasonable 
subject to melancholy 
prone to dejection 
amenable to reason 
true to trust 


Antonyms may be used sometimes to show an 
opposite meaning: as will be seen from the following 
examples: 


1. impervious to reason 

2. hostile to progress 

3. deaf to compassion 

4. false to conscience 

5. destructive to health 

6. averse to enterprise 


unreasonable 

unprogressive 

pitiless 

conscienceless 

unwholesome 

unenterprising 


Exercise 90 

Compose four phrases after the model given above, 
similar in meaning to privative adjectives of your own 
choosing. 


Exercise 91 

Select from your reading six combinations of adjective, 
preposition “to” and abstract noun. They must be 
equivalent in meaning to the concrete adjective derived 
from the abstract noun, as shown in the preceding 
examples. 

Note. Some examples of phrases may be found which 
take a verb as antecedent; such as, trust to chance, excite 


Adjective Phrases 


67 


lo pity, laugh to scorn, spur to action, etc. Likewise noun 
antecedents, as a prey to anxiety, a hostage to fortune, a spur 
to his ambition, a check to his pride, etc. These are not 
treated here since for the most part they are not clearly re¬ 
ducible to adjective form. 


(f) Preposition “WITH” 

The preposition “with” denotes a great number of 
relations of intimate connection. These connectives 
may have a consideration of space, time, quality or 
condition and as such, fall into the category of adverb 
phrases. The same preposition also bears the relation 
of some accompanying condition to a main activity, 
and is treated under the heading of the verb phrase 
A third set of relations carries a meaning equivalent 
to “as a consequence of,” “because of,” “through,” 
as, silent with shame. 

The same process of analysis has to be applied here, 
as in the case of the preposition “by.” 

Prepositional phrases containing “with” may have 
as their antecedents ADJECTIVES, VERBS, PRES¬ 
ENT PARTICIPLES, and PAST PARTICIPLES. 
Eacli will be listed separately. 

1. Adjective antecedent 

When the preposition “with” follows an adjective 
antecedent, the relation implied is not only equivalent 
to “by reason of,” “because of,” but implies also the 
notion of “accompaniment” or “inclusion.” The 
phrase silent with shame implies shame not only caus¬ 
ing but accompan 3 7 ing, or including silence. 


68 The Art of Phrasing in English Composition 


Adjective, Preposition “WITH” and Abstract 
Noun as an Adjective Phrase 

Model : Silent with shame — ashamed 

Analysis: Shame tends to make its subject blush, 
become confused, or silent. The prepositional form is 
often to be preferred to the unmodified adjective. 


Exercise 92 

Reduce to a simple adjective the following: 

1. pale with anger (angry) 

2. aflame with life 

3. athrol) with interest 

4. drunk with power 

5. sore with anxiety 

6. agog with excitement 

7. aglow with satisfaction 

8. sick ivith dread 

9. radiant with health 

10. scarlet with shame 

11. half dead ivith fatigue 

Exercise 93 

Insert the appropriate adjective with preposition 
“WITH.” 

. weariness 

. luxury 

. vitality 

. satisfaction 






Adjective Phrases 


69 


. despair 

. hope 

. joy 

. delight 

Antonyms 

The combination of adjective antecedent, noun sub¬ 
sequent and the preposition WITH as the connective, 
admits of no forms of opposite meaning, termed 
antonyms. This is due to the peculiar relation of 
the preposition WITH,—a relation not only of 
causality but also of inclusion. The antonym, on 
the other hand conveys the idea of exclusion. 

Here and there however, expressions may be met in 
one’s reading, in which a form of antecedent closely 
resembling the adjective, followed by the preposition 
admits of the antonym. The expression at one with 
the farts in the sense of true may be varied, for ex¬ 
ample, to bring out the contrary meaning; thus, at 
variance with the facts in the sense of untrue. These 
forms are idiomatic it must be observed. The prepo¬ 
sition WITH is an inseparable element of such ex¬ 
pressions, and can not be treated apart from its ante¬ 
cedent word. Forms such as, at one with , at variance 
with , compatible with , incompatible with and some 
others of like construction should be treated as com¬ 
pound words ; they are not to be included among the 
phrases treated in this chapter. 

Exercise 94 

Find in your reading three phrases that may be paired 
in the manner explained above. Antecedents may be 
adjective, verb, or participle. 






70 The Art of Phrasing in English Composition 


Verb Antecedent 

The verb antecedent is grammatically similar in 
function to the participle antecedent. The verb, if 
intransitive, may be changed into a present participle 
antecedent; if transitive, into the past participle 
antecedent. 

Active Verb, Preposition “WITH” and Abstract 
Noun as an Adjective Phrase 

Model: shout with glee — gleeful 
Exercise 95 

Study this formation and notice the verbs are nearly 


always intransitive: 

1. moan with pain . pained 

2. scream with terror . terrified 

3. tremble with fear . afraid 

4. shiver with cold . cold 

5. clapped hands with joy . joy fid 

6. shrivel with heat . hot 

7. shudder with dread . fearful 


Exercise 96 

Supply the missing noun to the following: 

1. quiver with . 

2. glow with . 

3. blush with . 

4. cling with . 

5. accord with . 

6. laugh with . 















Adjective Phrases 


71 


Present Participle Antecedent 

Some of the phrases containing a verb intransitive 
as antecedent will be improved by changing the ante¬ 
cedent verb into a present participle. For example 
the form to ache with curiosity is less desirable than 
the form aching with curiosity. The student in the 
examples to follow must use his judgment as to which 
form is to be preferred. 

Present Participle, Preposition “WITH” and 
Abstract Noun as Adjective Phrase 

Model : Sparkling with wit — witty 


Exe;rcise 97 

Reduce to an adjective the following: 

1. cooing with delight 

2. aching with curiosity 

3. seething with rebellion 

4. palpitating with anger 

5. swelling with pride 

6. strutting with arrogance 

7. 'boiling with rage 

8. panting with excitement 

9. choking with emotion 

Exercise 98 

Supply appropriate noun to the following phrases: 

1. glowing with . 

2. pulsating with .. 



72 The Art of Phrasing in English Composition 


3. hounding with . 

4. burning ivith . 

5. vibrant with . 

6. trembling with . 

7. radiating ivith . 

8. throbbing with . 

Past Participle Antecedent 

The past participle antecedent may take the place 
of verb transitive antecedent for the same reasons 
already given for changing the verb transitive 
antecedent into a present participle antecedent. 

Past Participle, Preposition “WITH” and Abstract 
Noun as Adjective Phrase 

Model: paralyzed with fright — frightened 


Exercise 99 

Reduce the following to adjective form: 

1. afflicted with blindness 

2. fired with zeal 

3. crowned with glory 

4. bloated, with riches 

5. choked with care 

6. imbued ivith respect 

7. endowed with free will 

8. attended with danger 

9. fraught with mischief 








Adjective Phrases 


73 


Exercise 100 

Fill in the required past participle antecedent and 
preposition: 


. economy 

. cowardice 

. ugliness 

. courage 

. peril 

. trials 

. diligence 

. resignation 

. tenderness 

3. ABSTRACT NOUN FOLLOWED BY REFLEX¬ 
IVE PRONOUN “ITSELF” AS AN ADJECTIVE 
PIIRASE 

Model: (He was) kindness itself 

This is a mode of emphasizing the quality kind by 
the use of the abstract noun with the additional force 
given by the reflexive pronoun. It has already been 
stated at the beginning of the chapter relating to 
Adjective Phrases that a quality as belonging to 
a subject is termed a concrete idea. The adjective is 
the part of speech used to denote such a quality, and is 
necessarily limited in its application. The abstract 
noun, on the other hand is the expression of the 
abstract idea, denoting a quality as by itself, there¬ 
fore not limited in its application. If we insist on 
being coldly correct and inexorably logical, we are 
absolutely unwarranted in using an abstract noun as 
the predicate of a sentence to express a concrete 











74 The Art of Phrasing in English Composition 

quality. Every such use of the abstract noun is a 
figure of speech known as hyperbole -or gross exag¬ 
geration permissible only when understood to be a 
poetic figure, whether used in writing or in conversa¬ 
tion. Take this sentence for example: 

(His very look was) a benediction: 

Here we have a variant on the poetic use of the 
abstract noun. The indefinite article precedes it, and 
the reflexive pronoun is dropped. Both forms may 
be the subject of the following exercises. 


Exercise 101 

Analyze the following sentences and supply an imita¬ 
tion of each: 

(She was) gentleness personified 

(The young singer's) voice (was) a revelation 

(Her) tongue (was) sharpness itself 


Exercise 102 

Practice from adjectives of your own selection the 
formation of phrases similar to the foregoing. 

4. ADJECTIVES IN SERIES 

Models : 
tried and true 

A calm if not a cold and indifferent spectator 
Remote, unfriended, melancholy, slow 


Adjective Phrases 


75 


Series of Two 

Exercise 103 

Analyze the following and substitute two adjectives 
of your own selection conveying the same meaning: 

1. grave and reverend seigniors 

2. vain and ineffectual 

3. a dreary, hazy atmosphere 

4. cold and commonplace 

5. the shallow and the showy 

6. dreamy andl caressing 

7. dull and death-like 

8. safe and sane 

Exercise 104 

Supply an appropriate adjective to complete the series: 

1. elaborate and . 

2. restless and . 

3. scholarly and . 

4. exceptional and . 

5 . and harmonious 

6 . and courteous 

7 . and metaphysical 

8 . and clever 

Series of Three 

Exercise 105 


Reduce to one leading adjective the following: 

1. unknelled, uncoffined, and unknown 

2. deliberate, palpable, and dangerous 










76 The Art of Phrasing in English Composition 


3. enumerated, specified, and particularized 

4. feverish, fretful, and fidgety 

5. a strife more than foreign, more than social, more 

than civil 

6. the dark, unbottomed, infinite abyss 

7. subtle, mysterious and impalpable 


Exercise 106 

Add two more adjectives to each of the following: 

1. brief 4. undecided 7. bigoted 

2. busy 5. pungent 8. humble 

3. foolish 6. formless 9. loud 


Series of Four 

Exercise 107 

Analyze the following combinations: 

1. plain, rugged, nervous, and sinewy Saxon 

2. a style vigorous, luminous, flexible, and graceful 

3. shy, suspicious, self-reflecting, and timid 

4. ethereal and evanescent, frail, and fugitive 

5. undefined, unlimited, permanent, and perpetual 

6. grave, courtly, gracious, and high-mannered 

7. neat, plain, close-fitting, and business-like 

8. how weary, stale, flat, and unprofitable 


Adjective Phrases 


77 


Exercise 108 


Add three adjectives to 

1. calm 

2. cheap 

3. brilliant 

4. snobbish 

5. glorious 


each of the following: 

6. genuine 

7. submissive 

8. lively 

9. wonderful 

10. tumultuous 


5. NOUN USED AS MODIFIER OF ANOTHER 

NOUN 

Model: (He spoke with) sledge hammer directness 

It is generally conceded by grammarians that use 
determines the classification of a word as a part of 
speech. When a noun passes over into use as a 
modifier of another noun it may be classed as an 
adjective. For example, in the phrase sledge¬ 
hammer handle we have an ordinary commonplace 
term; the noun has become an adjective, because the 
meaning is: the handle of a sledge hammer. 

Both words are used in their own order of things, 
the physical order; but if we take the word sledge 
hammer out of its physical order and apply it as 
a modifier of an abstract word we have an unusual 
and attractive figurative expression, as in the sen¬ 
tence, he spoke with sledge-hammer directness. 

We have employed as a comparison the term sledge¬ 
hammer — not in all its aspects, however, but only in 
one, its tendency to strike its object directly. This 
resemblance or similarity as to certain relations or 
aspects is called analogy, and is the basis of the simile 
and metaphor — figures of speech employed to bring 


78 The Art of Phrasing in English Composition 

out a thought more clearly and with greater strength 
or beauty. Other examples of the figurative use *of 
the noun as a modifier are coward conscience, panic 
fear, Judas kiss, wizard influence, apprentice touch, 
(thoughts came thronging) in panic haste, etc. 

Exercise 109 

Notice in general reading the varied use of nouns as 
modifiers; select four that may be used in a figurative 
sense as above, for insertion in the note book. 

Vary tihe exercise by changing similes into phrases of 
the kind under consideration. For example, clear as crystal, 
a more or less overworked simile is improved if changed into 
crystal clear. Write four examples of this kind. 

6. INFINITIVE PHRASE IN PLACE OF 

ADJECTIVES 

Model: A never-to-he-for gotten (incident) 

The infinitive phrase has already been considered 
in the chapter on noun phrases. It is no less useful 
regarded as a qualifying term to be placed before or 
after the noun. Thus, a never-to-he-for gotten incE 
dealt. The shorter expression a memorable incident 
has the laudable quality of terseness. But there are 
occasions when it is desired to give greater emphasis 
to the quality of the incident. The advantage of cir¬ 
cumlocution is then apparent. The infinitive phrase 
takes longer to read and hence remains longer in the 
mind of the reader before the noun takes up his 
attention. 

The infinitive phrase is more frequently placed after 
the noun; as, an event to be remembered. 


Adjective Phrases 


79 


Exercise 110 

Reduce to a single adjective the following: 

a structure soon to fall 

(here is a man) to he reckoned with 

an example more to he admired than imitated 

an event to he remembered 

(she was) more to he pitied than censured 

(’tis a) consummation devoutly to he wished 


Exercise 111 

Change five simple adjectives of your own choosing 
into infinitive phrases, either in the active or in the 
passive voice. 

7. ADJECTIVE WITH INTENSIFYING MODI¬ 
FIER 

Model : singularly attractive 

It will be noticed that certain adjectives have by 
the usage of the best writers certain intensifying 
modifiers peculiarly their own; these as a rule fulfil 
the duties of the adverb “very” which like its relative 
“much” is apt to be sadly over-worked by beginners 
in the art of composition. In some cases these ex¬ 
clusive modifiers defy analysis, the reason for their 
use being that they are in many cases at least, purely 
idiomatic. Instance such phrases as “ passing 
strange“passing fair ” instead of surpassingly 
strange, surpassingly fair. Notice also such expres¬ 
sions as “exquisitely dainty“alive as never be¬ 
fore etc. 


80 The Art of Phrasing in English Composition 


Exercise 112 

Supply from memory the appropriate adjective: 

1. exceptionally . 5. decidedly . 

2. keenly . 6. intolerably . 

3. invisibly . 7. immeasurably . .. 

4. abysmally . 8. insufferably . 


Exercise 113 

Supply the missing modifier: 


1. 


5. 


2. 

. candid 

6. 


3. 


7. 

. false 

4. 


8. 

. silent 


8. ADJECTIVES WITH DIMINISHING MODI¬ 
FIERS 

Model: doubtfully authentic 

Phrases of this kind are not so numerous as are the 
preceding; many adverbs owing to their regular ter¬ 
mination — “ ly ’ ’ are somewhat cumbersome in form; 
in order to secure greater flexibility the abstract noun 
form is substituted. Thus, for example while the 
term questionably honest is correct, of questionable 
honesty is the form often preferred. Prepositional 
phrases also are used for the same purpose, as for 
instance the phrase, after a fashion, in a way, fair to 
middling, etc. The model given above, doubtfully 
authentic, is not so lengthy as of doubtf ul authenticity. 


















Adjective Phrases 


81 


Exercise 114 

Analyze the following, and try out these adverbs by 
substituting others for comparison. 

1. mildly critical 

2. approximately correct 

3. haltingly favorable 

4. lightly enthusiastic 

5. gently censorious 

6. passably virtuous 

7. nominally loyal 

S. grudgingly generous 


Exercise 115 

Add diminishing modifiers to adjectives of your own 
choice; change the phrases into the abstract noun and 
compare both forms, with a view to securing a rhythmical 
phrase. 

9. ADJECTIVES WITH SYNONYMOUS MODI¬ 
FIERS 

Model : rudely insolent 

It is so difficult to avoid mere redundancy in these 
phrases that as a rule they are not to be recommended. 
Yet they appear in some good writing, even in the 
very best; as instance: “ (I’ll make) assurance doubly 
sure.” A short list of examples may be of some use 
in aiding in the search for intensifying modifiers. 
Compare the adjective carefully with its noun as to 
meaning. 


82 The Art of Phrasing in English Composition 


Exercise 116 


Analyze the following: 

1. peacefully quiet 

2. soundly rational 

3. rudely abusive 


4. energetically brisk 

5. bluntly rustic 

6. ravenously greedy 


Exercise 117 

In your reading take note of phrases similar to those 
given above, distinguishing modifiers that are more or 
less synonymous, from those merely redundant. Choose 
the best five for insertion in the note book. 


V. ADJECTIVE FORMS 


(b) Abstract Noun in Combination with a 
Transitive Verb 

The combination of the abstract noun with a 
transitive verb often results in a decided improve¬ 
ment upon the plain expression of subject noun and 
adjective predicate. To say, for instance, his spirit 
became calm, expresses a certain thought correctly. 
The same thought is conveyed more expressively by 
saying: a calmness settled on his spirit. It should 
be noticed here also that these expressions necessa¬ 
rily imply a subject and predicate. They can not be 
properly called therefore, adjective phrases but are 
termed adjective forms. 

Indefinite Article, Abstract Noun, Transitive Verb and 
Noun as an Adjective Form 

Model 

His soul became sad 

A sadness overpowered his soul 

This form requires a transposition of the members 
of the original sentence, whose subject becomes in the 
new sentence the object of a transitive verb. To ob¬ 
tain a subject for this new sentence a new noun is 
formed out of the adjective of the original sentence as 
is shown in the model given above. 


83 


84 The Art of Phrasing in English Composition 

It will be readily seen here that three changes have 
taken place: 

1. The subject of the original sentence has become 
the object of the transitive verb. 

2. The intransitive verb has been dropped and in 
its place an appropriate transitive verb lias been sub¬ 
stituted. 

3. The adjective in the predicate of the first sen¬ 
tence has been replaced by the indefinite article fol¬ 
lowed by an abstract noun formed from the displaced 
adjective. 

The new sentence is now ready for appropriate 
modifiers. Thus an unutterable sadness overpowered 
his soul. The reason for the transposition is because 
sadness is the important idea in the sentence; hence, 
it is placed for the sake of emphasis at the beginning, 
and is still further emphasized by the use of the modi¬ 
fier.. 

Sometimes an intransitive verb may be found better 
fitted to express the idea contained in the new sen¬ 
tence. In this case it is modified by a prepositional 
phrase; as, 

A smouldering resentment (simmered in him.) 

(See) what a grace (is settled on his hr owl) 

(There is) a ivideness in God’s mercy .... 

Exercise 118 

Reduce to simplest form the following sentences: 

1. A feeling of loneliness (crept into her heart.) 

2. A sickly pallor (overspread her face.) 


Adjective Forms 


85 


3. A misty greyness (came on with the dawning day.) 

4. A tiresome monotony (marred the effect of the 
speech.) 

5. A hot blush of shame (suffused her countenance.) 

6. A charm (which was) neither of youth nor of age 

(reigned in her face.) 

7. A wicked gleam (ivas in his gray eyes.) 

8. A blind unreasoning jealousy (tormented his 
sold.) 

9. An unconcealed glee (took possession of him.) 

10. A dull monotone (ran through the solemn chant.) 


Exercise 119 


Transpose the 'following: 

1. He seemed inspired 

2. He became sick at heart 

3. The evening was calm 

4. The scene was splendid 

5. The summer was fruitful 


6. She felt desolate 

7. The day was a memor¬ 
able one 

8. His soul became deso¬ 
late 

9. Her face ivas smiling 

10. Her words were signifi¬ 
cant 


Exercise 120 

Practice forming new sentences simple at first then in 
the transposed form, modifying according to the require¬ 
ments for strength, beauty or clearness. Complete four 
examples showing the new form according to the models 
given. 


86 The Art of Phrasing in English Composition 


Exercise 121 

Write a short composition containing six adjective 
phrases, after the model given below. Indicate the phrases 
as they occur: 

A Day on the Hudson River 

On one of those sultry August days of last summer 
I had the good fortune to be invited to accompany 
a gay party of school friends on an excursion up the 
Hudson River to Bear Mountain. 

It was a day of rare pleasure 1 for me since I had 
never visited the magnificent park that is justly ac¬ 
counted the pride of two great States. 

For such a trip the weather was ideal. No matter 
how torrid the day with not a breath of air 2 for the 
sweltering city dwellers, there is always a cool, grate¬ 
ful and invigorating breeze 3 on the broad Hudson. 

What a relief it was to get away from the noise and 
bustle of the city! As the great tall 3 buildings 
slowly faded in the distance the sounds of the busy 
streets faded with them and a soothing calm seemed 
to hang over the broad expanse of the water. 4 A 
sense of quiet exhilaration settled upon my tired 
spirit. * The giant Palisades clothed in sylvan love¬ 
liness 5 came into view as the steamer churned the 
blue waters and now they appeared in all their 
majesty, crowned 5 with a wealth of summer verdure 6 . 


1 Transposition. 

2 Noun and preposition to express “None.” 

3 Adjectives in series 

4 Transposition. 

6 Past participle with preposition. 

c Noun and preposition to express “Much,” 















Adjective Forms 


87 


A dazzling completeness of beauty 7 8 disclosed itself as 
a swiftly unrolling panorama of scenic magnificence 
passed before my enraptured gaze. 

Ever and anon there were flying shadows cast by 
the moving clouds, high over the summits of the 
highlands, like semi-transparent veils giving alterna¬ 
tions of sunshine and shadow, of bright blue sky and 
gray mountain side all combining to give variety of 
coloring 7 that Nature alone can produce. At one 
time a mass of rock and forest would glitter in full 
sunshine with all its colors fresh and every detail 
clear : a minute or two afterward it would seem a 
gray phantom with a dull, dim outline. 

As the day wore on the rays of the descending sun 
fell upon the water like a train of quivering jewels 
with a gorgeousness of coloring 7 at once the delight 
and the despair of the landscape painter. One could 
not help being reminded of the lines of Wordsworth, 
the gentlest and perhaps the sweetest singer of the 
joys afforded by a love of Nature: 

‘‘I loved whate’er I saw, nor lightly loved but most 

intensely; 

Never dreamed of aught more fair, more grand, 
more exquisitely framed. ’' s 


7 Abstract noun and preposition “Of.” 

8 Adjectives in series. 




















VI. VERB PHRASES 


Verb Phrases is the name given in this treatise 
to various groups of connected words not containing 
subject and predicate but merely performing the 
office of a single verb. Some of the examples adduced 
to illustrate principles of verb phrasing must neces¬ 
sarily be cast into the form of sentences. The phrase 
however, is seen in the sentence, words not essential 
to the phrase as such, being enclosed in parentheses. 
A separate chapter entitled VERB FORMS is de¬ 
voted to certain formations containing subject and 
predicate. 

Infinitive and participial phrases though verbal in 
construction have been already treated in the chap¬ 
ters dealing with noun and adjective phrases, inas¬ 
much as they stand for these parts of speech and 
perform the same functions in a sentence. 

For the sake of clearness the student is asked to 
bear in mind that the verb in place of which a phrase 
or form is to be considered, must be regarded only 
in the capacity of an active predicating element. 
The passive verb is generally a compound of some 
form of the verb “to be” and a past participle, closely 
related to an adjective, at least as to its function as 
a modifier of a noun. This ground has been gone 
over in the previous chapters on noun and adjective 
phrases. 


88 


Verb Phrases 


89 


As will be seen later on when treating of the verb 
phrases and verb forms in detail, the present and 
past participles are really convertible into nouns and 
adjectives and as such have no place in this section. 

1. Verb and Noun as Verb Phrase 

Model 1 . to vow — to register a vow 

Analysis: The verb vow may be broken up into 
two words: the verb register, and the noun vow. Sim¬ 
ilarly, to utter a vow, to pronounce a vow, etc. 

Model 2. to look — to clart a look 

Sentence containing phrase: (She) looked (an¬ 
grily at her companion) 

New Form: (She) darted an angry look (at her 
companion ) 

Analysis. The verb looked is resolved into verb 
and noun. The noun look is derived from the verb and 
is made the object of a new verb to be chosen for its 
aptitude in governing the noun according to sense. 
Hence, darted a look, cast a look, etc. If less intensity 
is called for by the context, the phrases, directed a 
look, gave a look, etc. may be used instead of the 
stronger word, darted. 


Exercise 122 

Simplify these sentences according to the models given: 

(I) would have speech (with you) 

(She) murmured a vague acceptance 
(He) nourished a desire (of ambition) 
(They) voiced, an angry protest 


00 The Art of Phrasing in English Composition 


Exercise 123 

Enlarge the following: 

History mentions that . 

Tie suspected the servants . 

She hoped that he ivould write .... 

Tie repaired the engine . 

2. Disallowing Term with Verb of Opposite Mean¬ 
ing as Verb Phrase 

Original Phrase: to believe 

New Phrase: not to doubt 

Nor (do 1)doubt that instead of (I) believe (that) 

There are occasions when a positive assertion is 
made by so wording the sentence that it is in form a 
denial -of the opposite. This form of speech is ade¬ 
quately treated in standard text books on Rhetoric on 
account of its evident usefulness in oratorical com¬ 
position. 


Exercise 124 

Analyze the following and reduce to positive decla¬ 
ration : 

(It would be)unjust to deny 
(It is) useless to gainsay 

(I must) find fault with the statement (that . ) 

(I am) far from denying (that . ) 

(I) do not take exception to the statement 
(I am) not blind to the consequences 
(We here highly resolve that these dead) shall not 
have died in vain 







Verb Phrases 


91 


Exercise 125 

Practice forming sentences or phrases after the models 
shown in the previous Exercise. A careful perusal of 
well-known public speeches will aid the student in the 
formation of felicitous phrases of this kind. 


3. \ 7 erb, Preposition and Abstract Noun as a Verb 
Phrase 


Models 


1. to call in question—(to question) 

2. to sink into despair—(to despair) 

3. to hold up to ridicule—(to ridicule) 

4. to regard with distrust—(to distrust) 

The prepositions play an important part in the 
formation of verb phrases: they serve to indicate 
and determine the new relation brought into being 
b}' the passing over of the original verb into its kin¬ 
dred abstract noun. Thus the phrase to hold up to 
ridicule is a variant on to ridicule. The verb of the 
short sentence gives place to its own abstract noun 
ridicule and the preposition fitted to bring out the 
sense is prefixed: a new verb precedes the preposition 
in accordance with the rules of fitness laid down in 
English grammar. The choice of this verb largely 
depends on what preposition is used: as to expose to 
ridicule, to bring into ridicule, to make a subject of 
ridicule, to treat with ridicule. All of these forms 
have the same meaning, to ridicule. Both transitive 
and intransitive verb phrases may be formed in this 
manner. The prepositions used with these verbs are 
in, into, to and with. 


92 The Art of Phrasing in English Composition 

Preposition “IN” 

(Forming- Transitive-Verb Phrases) 

Model: (He) contemplated (the scene) 

(He) indulged, in dreamy contemplation (of the 
scene) 

Here the verb contemplated, in the short sentence is 
changed into its related abstract noun, contemplation 
which latter is made the object of a new verb, indulged 
in, brought in to complete the sense. 

An artist in words would add one more stroke as 
a finishing touch,—the colorful modifier, dreamy and 
a beautiful word-picture is the result: he indulged 
in dreamy contemplation of the scene. 

Exercise 126 

Form a verb phrase on the following: 

1. He detailed every circumstance 

Analysis : The verb in this example gives the ab¬ 
stract noun detail. The prepositional phrase there¬ 
fore, would be, in detail. To find the additional verb 
now required the verb detail is analyzed as to its 
meaning. To detail means to enumerate or narrate 
or set forth an object as to its particulars or details. 
The analysis gives a choice therefore of more than one 
verb for use in the new sentence: he narrated, or he 
enumerated, or he set forth in detail every circum¬ 
stance. 

2. to remember 

Analysis: The first part of the process is simply 
mechanical. The verb changed into the abstract noun 


Verb Phrases 


93 


and preceded by the preposition “IN” results in the 
phrase, in memory. In order to find the new verb, we 
reflect that memory is a retaining’ or holding faculty. 
To treasure will naturally suggest itself in this con¬ 
nection, so we have the phrase completed: to hold in 
memory, to treasure in memory. Cicero has said: 
“Memory is the treasury and foundation of all 
things;” Shakespeare calls it “Memory the warden 
of the brain:” Montgomery refers to “Those graves 
of memory where sleep the joys of other days.” 

These quotations are given to show that prose 
writers continually borrow from the poets, in some 
cases merely dispensing with the meter and poetical 
word construction but retaining the figure of speech 
in all its strength and beauty. There is scarcely a 
bit of poetic imagery that is not appropriated, dressed 
up in slightly different raiment, and set forth as 
prose composition. 


Examples for Practice 


1. to question 

2. to move 

3. to reflect 

4. to explain 


5. to regard 

6. to whisper 

7. to admire 

8. to praise 


Preposition “INTO” 

Model: To mold into form . to form 

We have already studied in a previous chapter the 
preposition “into” in its relation of conversion, that 
is, the passing of a thing from one form or state to 
another: also, that this relation when expressed in 
terms of the past participle or a passive verb with 



94 The Art of Phrasing in English Composition 

the preposition acting on the abstract noun, is a true 

adjective phrase. Under the same relation and in 

like construction, we are now to use the active verb, 

instead of the passive verb or past participle and 

thus form a verb phrase. 

In order to analyze the phrase “to form” given 

above we first change “to form” into the noun 

“form” preceded by the preposition “into.” A verb 

must now be found and by the association of ideas, 

mold naturally comes to mind. So the new sentence 
*/ 

would be to mold into form. 


Exercise 127 

Reduce the following phrases to single transitive verbs: 

1. to lick into shape 

2. to put into writing 

3. (IIis pent-up anger) broke into fierce invectives 

4. (The assemblage) broke into a tumult of applause 


Exercise 128 

Form transitive-verb phrases on the following: 

1. (He) harmonized their discordant views 

Break up the word harmonized and form from it a 
phrase consisting of a verb, preposition into, and ab¬ 
stract noun formed from the verb harmonized. The 
result will be an entirely new expression: (He) 
brought their discordant views into harmony. Some¬ 
times the abstract noun may be cognate in meaning:, 
and yet made from an entirely different word, for 


Verb Phrases 


95 


example: He broke the goblet. There is no abstract 
word directly formed from the Saxon verb broke. We 
must fall back on the Latin word fragments. Thns: 
He dashed the goblet into fragments. Here the word 
fragments though usually taken in a concrete sense 
is in reality an abstract noun substituting for a 
coined word: brokenness. 

Examples for Practice 

2. (He) discarded their propositions. 

3. (The savages) captured their enemies. 

4. (He) unified the party. 

5. (He) insisted on printing the article. 


Exercise 129 

Reduce the following to single intransitive verbs: 

1. to sink into despair 

2. to burst into laughter 

3. to lapse into forgetfulness 

4. to fall into error 

5. (The golden sun) sank into a setting of glory 

Exercise 130 

Form intransitive-verb phrases on the following: 

1. (The old mansion began) to decay. 

In connection with the idea of decay we at once 
form a mental picture of a structure falling or crumb¬ 
ling, or the like. Hence the new sentence may read: 
(The old mansion began to) fall into decay. 


96 The Art of Phrasing in English Composition 

Examples for. Practice 

2. He digressed. 

3. She swooned. 

4. They despaired. 

5. They acted at once. 

Preposition ‘‘TO” 

hold up to ridicule . to ridicule 

As already stated in the pages treating of the em¬ 
ployment of the preposition in adjective phrases, the 
preposition “TO” expressing generally the idea of 
“motion toward,” connotes so many particular rela¬ 
tions that usage alone must guide us in the correct 
placing of the word in the formation of verb phrases. 


Exercise 131 

Substitute a sentence containing a single verb for the 
following: 

1. She composed herself to sleep. 

The preposition “TO” is without doubt the easiest 
to manage of all the prepositions, for the relation is 
always clearly seen. In this exercise the noun follow¬ 
ing the preposition simply becomes the verb required. 

2 .He gave way to doubt. 

3. Her indecision gave way to action. 

4. He gave himself up to pleasing dreams 

5. to bring to memory 

6. to yield to despair 

7. He went to his death 

8. to reduce to measure 



Verb Phrases 


97 


Exercise 132 

Construct phrases from these verbs: 

1. to destroy 4. to scorn 

2. to flatter 5. to pity 

3. to deride 6. to rout (to put to confusion) 

Analysis : The prepositional phrase to destruction 

is ready for a fitting verb. His enemy drove him , 
forced Jinn , incited him, lured him to destruction . 

Preposition “WITH” 

(She) entertained them with singing — (she) sang 

for them 

The preposition WITH finds a place in the verb 
phrase because of the relation of some accompanying 
condition, feeling, or cognate act to a main activity; in 
this relation it has the force of “accompanied by”, 
“under the influence -of ” and sometimes also “by the 
aid of” “by means of” as in the example given, (she) 
entertained them with singing. In analyzing, it is 
very necessary to bear in mind the exact relation 
shown by the preposition; especially since the preposi¬ 
tion “with” as we have already seen stands for a very 
great number of relations, most of them adverbial; 
and hence not applicable to the verb phrase. 

Exercise 133 

Reduce to a Sentence containing a single verb the fol¬ 
lowing: 

inveighed — lashed with invectives 
she lashed him with invectives 

Analysis: It is comparatively easy to find the 


98 The Art of Phrasing in English Composition 

verb cognate to the noun invective. At once the word 
is found to be (she) inveighed against him. But the 
reverse process is much more difficult. A verb must 
be chosen that bears a relation of sense to invective,’* 
a word meaning abuse and connoting violence; the 
help of analogy is called in and the fierce cutting lash 
of a whip is suggested. The sentence becomes: she 
lashed him with invectives, 
regard with distrust 
damn with faint praise 
load, with encomiums 

With a ceaseless motion comes and goes the tide 
He looked at her with pity 
She treated him with respect 


Exercise 134 

Construct after the manner of the foregoing examples, 
verb phrases on the verb, using any of the prepositions 
available: 


loathe 

blame 

harmonize 

scorn 

excite 

criticize 

sing 

steer 

order 

kill 

dispute 

esteem 

honor 

act 

repent 

pity 

remonstrate 

reproach 


4. Verbs in Series 

Model: (I) give, bequeath and devise 
The student is presumed to have already learned in 


Verb Phrases 


99 


the course on Composition and Rhetoric about the 
good points of repetition and the harmful results of 

senseless reiteration. 

Repetition in itself is a natural tendency of lan¬ 
guage. By presenting an idea from different angles 
of thought we often make it easier to be understood, 
provided we hold that purpose in view in our choice 
of words. The expression to imperil and endanger is 
a senseless repetition but (I) give, bequeath and 
devise is a good legal idiom because all three words 
while apparently meaning the same thing, in reality 
show a nice discrimination between goods in general, 
personal property and real estate. In the exercises 
to follow, some of which contain redundancies, the 
student should use his judgment as to whether to 
accept or reject them. 


Series of Two 

Exercise 135 

Examine for criticism and imitation the following pairs: 

1. implore and importune 

2. reproach and recriminate 

3. flash and flare 

4. applaud and acclaim 

5. proscribe and. denounce 

6. deride and ridicule 



100 The Art of Phrasing in English Composition 

Exercise 136 

Practice combining into pairs, verbs of similar mean¬ 
ing gathered from your own reading. 


Series of Three 

Exercise 137 

Analyze these verbs and mark differences in meaning: 

1. love, cherish and obey 

2. convince, persuade and C07ivert 

3. strengthen , uplift and sustain 

4. curb, restrain and correct 

5. repair, brace and strengthen 


Exercise 138 

Combine five sets of verbs chosen from your reading 
into sets of three. 


Series of Four 

Exercise 139 

Analyze for shades of meaning the following phrases: 

1. read, mark, learn and inwardly digest 

2. to know, to esteem, to love and then to part 

3. live pure, speak true, right wrong, follow the King 

4. lead, sustain, attack and conquer 

5. define, explain, determine and circumscribe 

6. describe, delineate, depict and characterize 


* f 
( < < 


Verb Phrases 


101 


Exercise 140 


Form a series 
single verbs: 

1. confuse 

2. contrive 

3. animate 

4. enrage 


of four verbs 

5. exceed 

6. embellish 

7. squander 

8. scandalize 


l on the following 

9. implore 

10. pretend 

11. protest 

12. disregard 


Exercise 141 

Form six phrases each containing four verbs from words 
found in your general reading. 


VII. VERB FORMS 


1. Noun and Verb as Verb Form 

Model: 1. He scowled his displeasure 

A sinister scowl hetrayecl his displeasure 

If the shorter sentence be analyzed it would seem 
that the verb is in the active voice. Change it into 
the abstract noun, scowl which latter becomes the 
subject of the new sentence. Devise a new predicate, 
manifested, evinced, betrayed etc. The object remains 
the same in both sentences. The subject noun maj r 
be strengthened by the addition of the modifier 
sinister, and the complete sentence may read: A 
sinister scowl betrayed his displeasure. 

Model : 2. They applauded 

A tumult of applause testified to their 
approval 

Analysis. Change the verb applaud into the noun 
applause. Intensify by adding tumult. The idea of 
applause connotes approval. What verb fits in best 
with the relation as to cause and effect between the 
subject applause and the object approval? The stu¬ 
dent may perhaps determine on the verb, testify, and 
complete the sentence thus: a tumult of applause 
testified to their approval. 

This change will afford a pleasing variety of expres¬ 
sion particularly if there are several leading verbs 


102 


Verb Forms 


103 


in the paragraph. The form given here is not avail¬ 
able for verbs in the passive voice, because the past 
participle necessary to the construction of the passive 
form of the verb is too easily reducible to an adjective 
form. For example the sentence he was applauded 
is practically convertible into applause greeted him. 


Exercise 142 

Study the models given below and prepare five imita¬ 
tions : 

3. She smiled in recognition 

A smile of recognition lighted her countenance 

4. He nodded in acquiescence 

A nod of acquiescence urns his only reply 

5. She believed unreasonably in his innocence 

An unreasoning belief in his innocence obsessed 

her 

6. She inveighed against him 

A fiery outburst of invective pursued him 

7. He looked inquiringly 

A look of inquiry teas in his face 

Sometimes the indefinite article may be dispensed 
with as in the following examples: 

8. He gazed at her face 

His gaze searched her face 

9. He imagined her at his side 

His imagination pictured her at his side 

10. He feared the consequences 

Fear of the dread consequences held him in a vise 


104 The Art of Phrasing in English Composition 

Exercise 143 

Build a sentence of the kind shown in the models from 
the following: 

1. S'he trusted him 5. He refused 

2. She protested 6. He sneered at them 

3. He praised 7. He demanded justice 

4. They reviled him 8. They decided against him 

2 . Noun and Verb with Preposition “IN” 

(Intransitive verb-form transposition) 

Model : lie scowled his displeasure 

His displeasure showed itself in a sinister 

scowl 

The original sentence is a fine expression as it 
stands. It can hardly be improved by amplification. 
But for the sake of using it as an exercise analyze it 
and it will be found that the verb scowled may be 
changed into its corresponding noun, scoivl. 

Bring forward the object noun displeasure; make it 
the subject of a new verb, thus: His displeasure 
showed itself in a sinister scowl. This is a transposi¬ 
tion similar to that already treated in the abstract 
noun combinations under the heading of Adjective 
Phrases. The original sentence is the same as that 
used in the preceding lesson. Notice the difference in 
treatment. 


Verb Forms 


105 


Exercise 144 

Simplify the following by analysis and transposition. 
Make five imitations: 

His anger vented itself in a sneer 
He occupied himself in gloomy resolves 
Her repressed feelings vented themselves in a flood of 
tears 

He nodded in affirmation 
A shout of joy broke from the group of boys 


Exercise 145 

Compose intransitive-verb forms based on these verbs: 

to hope to despair 

to err to fear 

3. Noun and Verb with Preposition “INTO” 

(Transitive verb-form transposition) 

Model: I remembered his words 

His words burned into my memory 

This is another transposition similar to the one in 
the preceding paragraph except that the preposition 
“into” is used here and the verb in the original 
sentence is transitive. The object words becomes 
the subject of a new sentence; the verb remembered 
is changed into an abstract noun memory and this 
becomes the object of the preposition. A new verb. 
burned is supplied to complete the sense and at the 
same time give an added intensity to the expression. 


106 The Art of Phrasing in English Composition 


If less intensity is aimed at, the verb is varied accord¬ 
ingly — sank into, seeped into, etc. If the verb lin¬ 
gered is preferred, the preposition must be changed. 
Thus, His words lingered in my memory. 

Exercise 146 

Imitate the transposition given above in the following 
sentences: 

1. I suddenly thought of his dreadful warnings. 

2. He recollected his former hitter experiences. 

3. They sighted the majestic ocean liner. 

Exercise 147 

Write three more transpositions based on sentences of 
your own composition. 

Form a sentence containing a subject, predicate and 
object. First attend to the predicate; it must consist 
of a verb from which you can form an abstract noun; 
but this must be a noun that will allow “IN” or 
“INTO” to be placed before it; otherwise the verb 
itself must be rejected, very likely requiring that the 
entire sentence be discarded. In that case try another 
sentence. If successful at this stage, place a new verb 
that will be found to be agreeable to both preposition 
and noun. This is admittedlv a difficult exercise, but 
will amply repay the time and labor expended upon 
it. 

4. The Expletive “ IT ” and the Infinitive Phrase 

Model: It is not for us to question God’s wisdom 
We must not question God’s wisdom 


Verb Forms 


107 


The use of the pronoun “ IT ’ ’ and an infinitive 
phrase is a very useful idiomatic form. It allows the 
real subject to follow the verb and thus improves the 
sentence by giving it balance of parts. Analyzing the 
model given, we find the plain expression to be we 
must not question God’s wisdom. This form seems to 
balance question with God’s wisdom whereas the sense 
requires that the antecedent term should be the per¬ 
sonal pronoun in the first person. The sentence h 
therefore properly balanced by such form as will 

emphasize the personal pronoun. Hence It is not for 
us to question God’s wisdom. 

Exercise 148 

Analyze the following and reduce to simpler form: 

It is a matter of great regret to us to 
It is our purpose to 
It mill be our aim to 
It is a pleasure for me to hear from you 
It gives me pleasure to 

It is not the way to argue down a vice to tell lies 
about it 

It is natural in man to indulge in the illusion of 
hope 

Exercise 149 

Reconstruct the following to include the expletive form 
as above: 

We must not expect to 
I would like to 
I am sorry to 


108 The Art of Phrasing in English Composition 


1 am obliged to 
Wc intend to 
We naturally infer 
We aim to please 


Exercise 150 

Write a brief composition containing five examples of 
verb phrases. Underline and indicate by name and refer 1 2 - 
ence number as in the model, each fonn used in the com¬ 
position. 

Model 

Narcissus and Echo 

Greek mythology makes mention of 1 a beautiful 
youth, Narcissus, who gave himself up to the pleasure 
of" the chase. The nymph, Echo, loved him and fol¬ 
lowed his footsteps. But he always repelled her ad¬ 
vances, having no other thought than the pleasure of 
hunting the wild boar. Forbidden to approach him, 

she contented herself with looking upon him from a 
distance. Thus she often indulged in silent contem¬ 
plation of his beauty , 3 secretly nourishing the hope 1 
that some day he would regard her with favor. 4 

But at last seeing that he continued to look upon 
her with intense dislike 4 she yielded to despair and 
went into hiding 5 in the recesses of the woods. Her 
form faded with grief till at last all her flesh shrank 
away. Her bones were changed into rocks and there 
was nothing left of her but her voice. 

1 Verb and noun. 

2 Verb, preposition “to” and noun. 

3 Verb, preposition “of” and noun. 

4 Verb, preposition “with” and noun. 

6 Verb, preposition “into” and noun. 
































































VIII. ADVERB PHRASES 


In every assemblage of words making complete 
sense, the essential elements are two: the subject and 
the predicate. We have studied in the preceding 
pages, the phrases that may take the place of the 
subject,—noun phrases, of the predicate, adjective 
and verb phrases. We have also examined the phrases 
used in place of the modifiers of the subject — it now 
remains to consider the expressions substituted for 
the modifiers of the predicate, namely adverbial 
phrases. This completes the treatment of the subject 
and predicate. Adverb phrases on account of their 
important function of modifying the predicate are 
very numerous: they need to be, to express adequately 
the notions of time, place, degree and manner; these 
form the natural subdivisions of adverbs and will be 
treated in their regular order. 

One exception must be made however in favor of 
adverbs of negation which we shall take out of their 
class as adverbs of manner and treat separately in the 
beginning of the next chapter. 

1. THE NEGATIVE ADVERB 
(A) Phrases Implying a Negation 

Writers employ a number of expedients to avoid 
the too constant use of the negative adverb “not.” 


109 


110 The Art of Phrasing in English Composition 

Sometimes the abstract noun is again brought into 
requisition and we note the form “he suppressed 
every sign of resentment” for “he did not manifest 
any sign of resentment” “he was empty of thought” 
for “he could not think.” 

Various kinds of phrases, idiomatic in form, are 
emplo3^ed to take the place of the negative adverb, 
such as, “far he it from me to maintain” for, “I do 
not maintain.” This mode of expression is met fre¬ 
quently in public addresses. 


Exercise 151 

Change the following to the plain form having the 
negative adverb. 

1. Nor do I pretend that . 

2. Perish the thought . 

3. Hardly will any one presume to say . 

4. 1 am by no means certain that . 

5. 1 am far from asserting that . 

(B) The Double Negative 

Though not in a strict sense a phrase, the double 
negative may be considered here. In plain expository 
writing the double negative would be clearly out of 
place. In other kinds of composition however, es¬ 
pecially in public discourse, there is a distinct gain 
in impressiveness by the use of this form, 







Adverb Phrases 


111 


Exercise 152 

Express in plain and brief form the following: 

1. (There teas) no extravagance of parliamentary 
debate which he did not repeat 

2. (There is) no page of history that does not record 

3. None so blind as those that will not see 

4. Nothing (is) so easily resisted as a temptation 
that no longer tempts 

(C) The Negative Adverb with “But” 

This combination is closely allied to the double 
negative in its employment as an adverbial form in¬ 
stead of an affirmative declaration. For example, in 
King Henry IV. Part 1. the use of this form occurs: 

“Not an eye 

but is aweary of thy common sight.” 

Similarly in Ilalleck’s immortal lines on the death 
of Joseph Rodman Blake, 

“None knew thee but to love thee 
None named thee but to praise” 

Carlyle in his Essay on Goethe, also makes use of 
this form: “We can not but believe that there is an 
inward and essential truth in art.” 


Exercise 153 

Clear the sentences given above of the negative with¬ 
out changing the meaning. 


112 The Art of Phrasing in English Composition 


2. ADVERBS IN SERIES 

Model: Many a time and oft 

Above and beyond and before all else 
Chiefly, particularly, principally, and espe¬ 
cially 

Adverbs ending in “ly” especially if they contain 
many letters are sparingly used in series of three or 
more. 

The student will find it more satisfactory to use 
idiomatic forms, short words if possible. This will 
not be a difficult task since the adverb more than any 
other part of speech lends itself to short idiomatic 
expressions a great number of which are in every day 
use. 


Series of Two 

Exercise 154 

Reduce these pairs to one adverb for each, expressing 
the same idea: 

1. (loved) not wisely but too well 

The writings of Shakespeare abound in chain words 
similar to the example just given. A careful perusal 
of the poet in the search for additional expressions 
will enlarge one’s vocabulary and afford a very pleas¬ 
ant literal pursuit. 

2. briskly and energetically 

3. deftly and carefully 

4. not wisely but too well 

5. our souls sit close and silently within 


Adverb Phrases 


113 


6. insanely and blindly 

7. nevertheless and notwithstanding 

8. positively and absolutely 

9. tomorrow and tomorrow 

10. now or never 

11. many a time and oft 


Exercise 155 

Fill in the missing adverb. 

carelessly and . 

profoundly and . 

inscrutably and . 

humanely and . 

honestly and . 

Series of Three 

Exercise 156 

Reduce the following to one adverb: 

1. Ideradventure, possibly, and perchance 

There can be no serious reason for the use of such 
a trio of adverbs, unless as sometimes happens they 
are used in a playful, humorous vein. Viewed in this 
light they are well worth remembering for future use. 
Compare above and beyond and before all else — 
notice the combination of strength and beauty in this 
phrase with no thought of mere playfulness and no 
hint of redundancy. 

2. Darkly, deeply, beautifully blue 

3. Calmly, quietly and serenely 







114 The Art of Phrasing in English Composition 

4. Cleverly, adroitly and conclusively 

5. Intensely, seriously and profoundly 

6. Mildly, sweetly and gently 

7. Vaguely, darkly and mysteriously 

8. Tlere, there and everywhere 

Exercise 157 

Form a series of three from the ’following: 

1. calmly 4. clearly 

2. cleverly 5. quickly 

3. certainly 6. sufficiently 

Series of Four 

Exercise 158 

Reduce to one leading adverb: 

1. Chiefly, particularly, principally and especially 

This is another example of a clever series. The 
rich humor contained in the choice and collocation of 
the words makes the delighted and surprised reader 
forget that there is any tautology in the expression. 

2. Humbly, submissively, simply and calmly 

3. Lightly, freely, cheerily and joyously 

4. Softly, clearly, quietly and serenely 

Exercise 159 

Form a series of four from the following: 

1. artfidly 4. keenly 

2. doubtless 5. barely 

3. immeasurably 6. candidly 


Adverb Phrases 


115 


3. PREPOSITION “WITH” AND ABSTRACT 
NOUN AS ADVERB PHRASE 

One of the many relations expressed by the preposi¬ 
tion “with is a certain modal determination corre¬ 
sponding to the adverb of manner. This construction 
takes a preposition joined to an abstract nonn. 
For example, if we wish to avoid this awkward form, 
(He) gazed on the scene very dejectedly ” all that is 
needed is to change the adverb dejectedly into its ab¬ 
stract nonn dejection and place the preposition 
“with” before the new nonn. The modifier very is 
rejected and in its place is inserted an adjective 
appropriate to the nonn, namely, deep. The improved 
sentence will then read (lie) gazed on the scene with 
deep dejection. Again take the sentence (She) re¬ 
ceived him unusually warmly; the repetition of the 
ending “ly” offends the ear. Better say, She received 
him with unusual warmth. 

Exercise 160 

Change the phrases in following sentences to the form 
of single adverb and modifier wherever required. 

1. (He accepted the post) with more than his accus¬ 
tomed alacrity. 

2. (Clive replied) with characteristic haughtiness. 

3. (He drove home his arguments) with crushing 
effect. 

4. (She managed the delicate affair) with consum¬ 
mate skill. 

5. (Bulletins came) with alarming frequency. 

6. (His lines were delivered) with telling effect. 


G 


116 The Art of Phrasing in English Composition 

Exercise 161 

Construct five sentences each containing the preposition 
“with” followed by an abstract noun. 

1. Tier children were arrayed very neatly. 

2. He argued the case forcibly and feelingly. 

3. He took her reproof very ungracefully. 

4. The boy told of his adventures in his childishly 
exaggerated way. 

5. He snatched the paper from her hands vulgarly 
and eagerly. 

Exercise 162 

Write a brief composition containing ten adverbial 
phrases. No model is required in this instance, as ad¬ 
verbial phrases are not only the most numerous of all the 
phrases, but are the least difficult as well. 

4. ADVERBIAL IDIOMS AND EXPRESSIONS 

It is worthy of remark that adverb phrases more 
than any other seem to run into idiomatic forms. For 
these all rules fail. Idioms are expressions that have 
grown up in the language; just how and when, the 
grammarians do not know. All that we know is that 
they are here and are closely bound up with the very 
genius of the language. The list that follows will be 
of use to the student helping him to increase his stock 
of words and phrases. It is by no means a complete 
list. Additions can be made by the student himself. 
The same may be said of the following chapter on the 
sources of phrases. Both lists are suggestive merely, 
and should be enlarged in the classroom and in home 
work. 


Adverb Phrases 


117 


Adverbs of Time 

Time Present 

at the present stage of the game; on the dot; no 
sooner said than done; touch and go; in the nick of 
time; note or never. 


Time Past 

this many a day; in the dark backward and abysm of 
time; this many a year; in the far off yesterdays; 
many a long day. 


Time to Come 

tomorrow and tomorrow; in the after time; one of 
these days; at the crack of doom; sooner or later. 

Time Relative 

one fine morning; for the time being; in the process 
of time; in the sequel; close on the heels of; not for 
long. 

Time Absolute 

world without end; till the last syllable of recorded 
time; while grass grows and water runs; never in all 
on e/s born days. 


Time Repeated 

many a time and oft; oft recurring; ever and anon; 
once in a blue moon; every now and then; off and on; 
semi-occasionally. 


118 The Art of Phrasing in English Composition 


Adverbs of Place 

(Place in Which) 

here and there; amidst (such and such) surroundings; 
environments; right and left; the world over; Dan to 
Beer sheba. 

(Place to Which) 

hither and yon; in the foreground; in the background 

(Place from Which) 

on the wing ; the two poles apart. 


Adverbs of Degree 

Excess or Abundance 

wide of the mark; without a shadow of turning; as the 
stars in their courses; beyond all precedent; in its 
broader aspects; as (cool) as you please; nothing 
could, be more (unfair); to crown all. 

Deficiency or Abatement 

verging on; little less than; within an ace of; danger¬ 
ously near; in the neighborhood of; as little as may 
be; in ever so small a degree; after a fashion; below 
the mark; in miniature; in an accommodated sense. 

Equality or Sufficiency 

to all intents and purposes; taking one thing with 
another; within bounds; in reason; under easy sail; 
in the long run; share and. share alike. 


Adverb Phrases 


110 


Adverbs of Manner 

Manner from Quality 

Well 

ivith flying colors; in full swing; not amiss; so far so 
good; all goes well; consummation devoutly to be 
wished; well and good; so much the better. 

Ill 

to little purpose; to no purpose; Mississippi bubbles; 
as ill luck would have it; out of joint; unmixed evil; 
as dependable as a floating mine; disastrous as free 
dynamite. 

Secretly 

in the dark; in executive session; behind closed doors. 

Publicly 

in open court; in open forum; with open doors; open 
covenants openly arrived at. 

Differently 

a world of difference; as the night the day; wide apart 
as the poles; a far cry from; distinction without a 
difference; like, but oh, how different; exact antithe¬ 
sis. 

Experimentally 

by rule of thumb; at a venture; if one may be so bold. 

Unexpectedly 

with out saying “by your leave;” like a thief in the 
night; in an unguarded moment. 


120 The Art of Phrasing in English Composition 


Voluntarily 

at will; as lief; nothing loth; with a good grace. 

Incidentally 

by the way; apropos of nothing in particular; in 
passing. 

Adverbs of Manner 

Affirmation or Assent 

in point of fact; of a truth; be it so; by your leave; 
beyond per adventure; on the face of it; at the first 
blush. 

Negation 

on no account; by no means; in no respect; nothing 
of the kind. 

Doubt or Contingency 

mayhap; wind and weather permitting; God willing; 
as the case may be; as luck would have it; for aught 
one knows; be that as it may; as matters stand; such 
being the case; in that event. 















IX. WORDS AND PHRASES USED AS 

CONJUNCTIONS 


A pleasing change from the monotony of both . 

and and is obtained by substituting one set of the 

following: as . as . ,at once . and 

. ; alike . and; no less . than; a few 

examples of these are given as models for imitation: 

as odious as it is absurd 

(he is) as simple as he is forcible, and as brief as he 
is decisive 

as ridiculous as it was unnecessary 
at once epigrammatic and arresting 
an expression at once confident and appealing 
spendthrift alike of money and of wit 
no less superficial than brilliant 


Exercise 163 

Form a sentence containing the ordinary conjunction 

both .and: then substitute one of the forms given 

above. Repeat the phrase-process until you have one or 
more of each form. As will be seen the members to be 
joined must be as a rule adjectives or at least words 
reducible to adjectives. 


121 















X. SOURCES OF PHRASES 


The foregoing pages have given a more or less 

incomplete view of the relations existing between the 

principal parts of speech and the varied turns of 

expression functioning for the time being as nouns, 

verbs, adjectives, adverbs and conjunctions. Such 

treatment could never be complete for the reason that 

the English language is so rich in expressions that 

any work of this kind only scratches the surface; the 

student is merelv stimulated to look beneath that 

•/ 

surface and see a mine of wealth at his disposal; he 
will see new truths and deeper relations in the world 
about him which the old phrases will not express. 
Thus will he increase the power and beauty of his 
mode of expression. 

Goldsmith in one of his essays calls attention to the 
universal tendency to employ figures of speech. “In 
every language,” he says, “the heart burns; the cour¬ 
age is roused; the e} r es sparkle; the spirits are cast 
down; passion flames; pride swells, and pity sinks the 
soul. Nature everywhere speaks in those stray images, 
which from their frequency pass unnoticed.” 

The true value then of any work dealing with liter¬ 
ary phrases is in the encouragement it gives the stu¬ 
dent to examine the sources of many of the phrases 


Sources of Phrclses 


123 


lie meets in his reading and gradually evolve expres¬ 
sions of his own. A careful study of the principles 
of analogy on which most of the foregoing phrases 
are based will be of great help in the formation of 
novel and felicitous turns of thought. 

Some of the main sources are given together with 
illustrative examples, all of which have been used by 
good writers, and are chosen for their suggestive 
value. 


Animal World 

and the trail of the serpent is over them all; neither 
flesh nor fish; harking up the wrong tree; put the 
saddle on the ivrong horse; clean as a hound’s tooth; 
hold the reins; hold with the hare hut run with the 
hounds; on the horns of a dilemma; concealment like 
a worm in the hud; all his geese are swans. 

Astronomy 

unapproachable as a star; wide apart as the poles; 
spots on the sun; hitch your wagon to a star. 

Botany 

while grass grows and water runs; died of a rose in 
aromatic pain; thorn in the side; tongues in trees, 
etc.; harking up the wrong tree. 

Mathematics 

moral obliquity; getting facts lengthwise; times are 
out of joint; abstruse reasoning; zigzag methods; 
trace in outline. 


124 The Art of Phrasing in English Composition 


Military Terms 

low visibility; pass muster; routed, horse, foot and 
dragoons; throw a barrage; smoke screen; without 
a trace; scrap of paper; come to grip with; when 
Greek meets Greek; no man’s land; camouflage; 
baptism of fire; over the top; measure swords with. 

Mythology 

Achilles heel; song of sirens; Pandora’s box; idols 
with feet of clay. 


Industry 

sledge-hammer blows; spinning a network of false¬ 
hoods; links in the chain of reasoning; unvarnished 
tale; well-oiled machinery; high gear; stripped gears; 
hitting on all six cylinders; rough edged (undiplo¬ 
matic). 


Nature and Senses 

crystal clear; thoughts that breathe and words that 
burn; thou hast the most unsavory similes; quicksands 
of deceit; diamond in the rough; pluck out the heart 
of its mystery. 

General and Optical Science 

photographic exactitude; insensibility to moral per¬ 
spective and proportion; coherent thinking; acid 
test; arrested development; atrophied view; mental 
strabismus; live wire. 


Sources of Phrases 


125 


Printing* Art 

stereotyped commonness; out of sorts; hot from the 
press ; penny-a-liner. 


Sea Terms and Navigation 

dead reckoning; lose one’s reckoning; swim with the 
tide; consult the barometer; tide of time; tempest 
tossed; full speed ahead; sea of upturned faces; on 
the dubious waves of error tossed; ships that pass in 
the night; turn of the tide; went off sound. 

Business and Commercial Law 

discounting the future; blue pencilled; close corpora¬ 
tion; interlocking directorate; all wool and a yard 
wide; a liability and an asset; captain of industry. 

Parliamentary Law — Legal Terms 

committee discharged with thanks; go into executive 
session with one’s self; committee of the whole; with¬ 
out a dissenting voice; the ayes have it; put one’s 
self out of court; before the house; point of order- 
in formation; offer a brief; hold a brief for; prima 
facie evidence; in error; in rebuttal; enter a general 
denial; reverse one’s self. 

Common Things 

familiar as the back of one’s hand; not to have a leg 
to stand on; cobwebs of sophistry; so transparent an 
infant could have seen it blindfolded; will not hold 
water; fly in the face of facts; handle to one’s name; 


126 The Art of Phrasing in English Composition 


rule of thump; brassy counterfeit; fingers are thumbs; 
pregnant hinges of the knee; clockwork precision; a 
far cry from. 

Drama 

bad actor; take one’s cue from; fortune played the 
clown to his caprices; make up; take off; raise the 
curtain; ring down the curtain. 

Current Expressions 

safe and sane; watch your step; she lived in a world 
of “let it go at that;” have his number; on any one’s 
say so; all for one — one for all 

Games of Chance 

facing fear fid odds — dice with death; stand the 
hazard of the die; at sixes and sevens; cast of the 
die; fortune’s wheel; new deal; lay one’s cards on the 
table; a losing game; go it alone. 

Historical and Literary Personages 

Becky Sharp; real Simon Pure; Niobe of Nations; 
Caesar’s wife; Sir Oracle; Vicar of Bray; Sir Gala- 
had. 


Holy Scriptures 

clay in the hands of the potter; signs and wonders; 
handwriting on the wall; no one a prophet in his own 
country; Judas kiss; sounding brass and tinkling 
cymbal; clean the outside of the platter; proclaim 
from the house-tops; tell it not in Gath; stamped with 


Sources of Phrases 


127 


his image and superscription; how is the mighty fal¬ 
len; lines fallen in pleasant places; out of the mouths 
of babes and sucklings. 

Philosophy and Systems 

begging the question; axiomatic truth; vicious circle; 
streams of consciousness; the greatest good of the 
greatest number; struggle for existence; survival of 
the fittest. 




XI. INDEX OF KEY WORDS 


The following list of key words is appended for a 
twofold purpose: first, as an aid to the student in 
his task of composition by supplying him with a 
number of appropriate expressions, somewhat after 
the manner of the index at the end of the Thesaurus, 
and secondly, as a method of general review of the 
work done in the classroom. 

The numbers placed after each word refer to the 
pages on which may be found the corresponding 
phrase. 


NOUNS 


Abuse, 21 

accident, 29 
accusation, 21 
action, 15 
advance, 15 
anarchy, 26 
approval, 17 
argument, 27, 35 
astonishment, 24 
attractiveness, 21 
aversion, 32, 34 


Calculation, 23 

calumnies, 26 
candor,21 
certainty, 29 
chance, 9 
chaos, 26 
character, 34 
circumstance, 34 
coincidence, 9 
confusion, 29 
courtesy, 26 
custom, 32 


Beauty, 27 

birth, 33 
bitterness, 16 
blow, 21 
boundary, 32 


Danger, 27 

day, 9 

deliberation, 23 
delusion, 32 


129 


130 The Art of Phrasing in English Composition 


NOUNS (continued) 


denial, 27 
depravity, 27 
despondency, 8 
discord, 21, 32, 33 
discourses, 33 
doubts, 32, 33 
dreamer, 10 

Eagerness, 24 

electorate, 26 
eloquence, 35 
entanglements, 21 
envy, 16 
error, 15 
eulogy, 27 
excellence, 35 

Falsehood, 27 

folly, 27 
formula, 26 
friend, 31 

Gaudiness, 24 

greatness, 24 

Happiness, 24 

harmony, 8, 9 
heart, 29 
hatred, 24 
history, 35 
honors, 24 
hopes, 21 
hospitality, 27 
hunger, 8 

Ideals, 24 

ignorance, 27 
illustration, 19 
impiety, 29 
inactivity, 14 
inscription, 32 • 


instance, 24 
intercession, 26 
invective, 21, 34 

Knowledge, 15 

Laborer, 12 

laughter, 27 
life, 8 

love, 15, 29 

Man, 11 

means, 32 
measure, 32 
mists, 21 

Night, 8 

noon, 9 
nothing, 12, 14 

Ornament, 15 

Pardon, 26 

partisanship, 32 
patriotism, 34 
pessimism, 24 
plenitude, 26 
pomp, 32, 33 
portents, 32 
poverty, 9 
power, 24 
practice, 15 
praise, 17 
preparedness, 17 
progress, 15 
prominence, 29 
purity, 33 

Realities, 26 

recapitulation, 35 
rudeness, 25 


Index of Key Words 


131 


NOUNS (continued) 

time, 8, 9, 10 
tirade, 34 

Universities, 26 

unreality, 29, 32 
untruth, 34 

Vagaries, 34 

vanity, 27 
vitality, 21 

War, 33 

wisdom, 34 
words, 29 

ADJECTIVES 


Sarcasm, 26 

scorn, 27 
sham, 28 
smugness, 24 
soldier, 13 
spring, 9 
storm, 21 
style, 15 
substance, 31 
success, 21 

Tact, 31 

temper, 33 
thanks, 29 


Abysmal, 76 

active, 60, 62 
admirable, 79 
afraid, 70 
alive, 53, 68, 79 
all-important, 79 
ambitious, 39, 55. 
amorous, 63 
angry, 68, 71 
anxious, 68 
apologetic, 62, 63 
arrogant, 68, 71 
ashamed, 67, 68, 85 
astonished, 39 
attractive, 79 
average, 80 

Bankrupt, 61 

beautiful, 62, 79, 87 
beneficent, 58 
benevolent, 56 
blessed, 74 
blind, 72 
brainy, 64 


Calm, 74, 86 

capricious, 53, 54 
careworn, 72 
charming, 85 
clear, 42, 43, 78 
cold, 70 

conscienceless, 66 
courtly, 42, 76 
cowardly, 78 
curious, 71 
customary, 55 

Dainty, 79 

dangerous, 72 
dark, 39, 58 
dawning, 85 
dejected, 66 
deliberate, 75 
delighted, 53, 71, 
depressed, 55 
desirable, 79 
desolate, 62 
diplomatic, 59 
direct, 77 


132 The Art of Phrasing in English Composition 


ADJECTIVES (continued) 


dishonorable, 63, 64, 65 
disobedient, 65 
disreputable, 61 
diverse, 41 
doubtful, 64 
dreamy, 75 
dreary, 75 
dwarfed, 56 

Elegant, 63 

eloquent, 39 
emotional, 55, 71 
eulogistic, 64 
evanescent, 76 
excessive, 65 
excited, 68, 71 
extravagant, 42, 43, 65 

Fashionable, 63 

fearful, 55, 68, 70 
few, 51 
forgotten, 75 
fortunate, 55 
fretful, 76 
frightened, 72 
fulsome, 42, 43 

Generous, 55, 62 
gentle, 40, 74 
gleeful, 70, 85 
glorious, 72 
gorgeous, 43 
graceful, 84 
greedy, 82 

Hardy, 64 

hateful, 39 
hazy, 75 
historic, 61 
honorable, 62 
hopeful, 57 


hostile, 39 
hot, 53 

m, 58 

imaginative, 56 
imperfect, 78 
important, 39 
influential, 78 
innocent, 63 
intellectual, 56 
intense, 41 
interesting, 68 
insolent, 81 

Jealous, 85 

joyful, 41, 70, 86 

Kind, 73 

Lightsome, 58 

literary, 26 
little, 48, 49 
lonely, 58, 84 
lovely, 53, 62 

Many, 50 

mature, 61 
meaningless, 64 
melancholy, 55, 65, 66 
memorable, 78 
mental, 39 
merciful, 84 
mischievious, 72 
misty, 59 
monotonous, 85 
moonlit, 58 
much, 47, 48 
mysterious, 59, 76 

Natural, 59, 60 

neat, 76 
no, 45, 46 


Index of Key Words 


133 


ADJECTIVES (continued) 


Obedient, 61, 65 

obese, 65 
obscure, 59 
oblivious, 58 

Pained, 70 

pallid, 84 
panicky, 78 
passionate, 60 
pitiable, 79 
pitiless, 66 
plain, 76 
pleasant, 38 
poor, 61 
profuse, 43 
promising, 56 
proper, 63 
proportionate, 65 
proud, 71 
prudent, 55 
purposeless, 56 

Quiet, 82 

Raging, 71 

rapid, 43 
ready, 41 

reasonable, 55, 60, 66 
rebellious, 71 
religious, 65 
remorseful, 55 
remote, 74 
resentful, 84 
respectful, 72 
reverent, 75 
rich, 42, 43 

Sad, 83 

safe, 75 
satisfied, 68 
sharp, 74 
shy, 76 


significant, 39 
silent, 61 
single, 41 
some, 43, 44, 45 
specified, 76 
speculative, 41 
stagnant, 75 
stale, 76 
strange, 79 
strong, 56 
studious, 56 
submissive, 60, 61 
subtle, 76 
sure, 81 
surfeited, 57 
surprising, 74 
suspicious, 39 
sylvan, 86 

Tearful, 61, 65 
terrified, 70 
timid, 58 
tottering, 79 
treacherous, 78 
true, 69, 74 
trustworthy, 66 

Unanimous, 4J 

unauthentic, 80 
unbalanced, 58 
undignified, 57 
unenterprising, 66 
unfruitful, 64 
ungrateful, 62 
unhealthy, 66 
unintelligent, 64 
uninteresting, 58 
unprogressive, 66 
unreasonable, 66 
untrue, 69 
unwholesome, 66 


134 The Art of Phrasing in English Composition 


ADJECTIVES (continued) 


Vain, 75 

weary, 68 

verdant, 86 

wicked, 85 

visible, 62 

witty, 58, 71 
wonderful, 74 

Wasteful, 63 

weak, 56, 57 

Zealous, 55, 72 

wealthy, 65, 72 

VERBS 

Accept, 89 

distrust, 91, 98 

acquiesce, 103 

doubt, 96 

act, 96 

dream, 96 

aim, 107 
allow, 90 

Err, 95 

applaud, 94, 99, 102 

eulogize, 98 

approve, 102 
assert, 90 

Favor, 108 

attack, 100 

fear, 103 

admit, 90 

flash, 99 
form, 93, 94 

Believe, 90, 103 

bequeath, 98 

Gaze, 103 

break, 95 

Harmonize, 94 

hide, 108 

Contemplate, 92, 108 hope, 107 

convince, 100 
criticize, 98 

Imagine, 103 

indulge, 108 

Decay, 95 

implore, 99 

define, 100 

inquire, 103 

deny, 90 

intend, 107 

denounce, 99 

inveigh, 94, 97, 103 

deride, 99 
described, 100 

Laugh, 95 

desire, 89 

learn, 100 

despair, 91, 95, 96 

lie, 107 

destroy, 97 

like, 107 

detail, 92 

look, 89, 103 

die, 96 

love, 100 


135 


Index of Key Words 


VERBS (continued) 


Measure, 96 

mention, 108 
move, 98 

reproach, 99 
respect, 98 
ridicule, 91, 96, 99 
rout, 97 

Nod, 103 


Scowl, 104 

Part, 100 

shape, 94 

perceive, 90 

sing, 97 

picture, 103 

sink, 95 

pity, 98 

sleep, 96 

protest, 89 

smile, 103 
sneer, 105 

Question, 91 

speak, 89 

Read, 100 

regret, 107 

Vow, 89 

rememlber, 92, 93, 96, 
repair, 100 

105 Write, 94 

ADVERBS 

Adroitly, 114 

everywhere, 118 

affirmatively, 120 

experimentally, 119 

Briskly, 112 

Frequently, 115 

forever, 117 

Calmly, 113 

carefully, 112 

formerly, 117 

cheerily, 114 

Haughtily, 115 

chiefly, 114 

here, 118 

cleverly, 114 
contingently, 120 

humbly, 114 


Ill, 119 

Dejectedly, 115 

incidentally, 120 

differently, 119 

insanely, 113 

doubtfully, 120 

intensely, 113 
intimately, 112 

Eagerly, 115 

effectively, 114 

Negatively, 120 

enough, 118 

nevertheless, 113 

especially, 112 

not, no 


The Art of Phrasing in English Composition 


ADVERBS (continued) 


not very, 118 
now, 113, 117 

Often, 112, 117 
once, 117 

Perhaps, 113 

positively, 113 
profoundly, 114 
pu'blic.ly, 119 

Secretly, 119 

seldom, 117 
skilfully, 115 


softly, 114 
suddenly, 119 

There, 118 

tomorrow, 113 

Unexpectedly, 119 

unwisely, 112 

Vaguely, 114 

very, 118 
voluntarily, 120 

Warmly, 115 

well, 119 














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